The Gallery’s picture has sometimes been seen as representing Christ walking on the water during a storm, and Peter about to attempt to follow his example, as told in Matthew 14:22–29. On the other hand, while the Tietzes’ attribution to El Greco accords with the picture’s mannerist elements and high quality, the technique, in particular the lack of impasto, is equally inconsistent with that of the Cretan painter. . 2]   [fig. A copy of August L. Mayer’s manuscript opinion of 1925 is in NGA curatorial files. Collection of Jacob Jacobsz Hinloopen (1644-1705), a burgomaster and sheriff, Amsterdam by 1705. He did not, however, include Christ at the Sea of Galilee among the group that he discussed. Old Masters, New World: America’s Raid on Europe’s Great Pictures (New York: Penguin Books, 2008), pp. The attribution of the Gallery’s painting to Lambert Sustris is based upon strong similarities in works by Lambert to the figure of Christ, the small figures of the apostles, and the landscape. 84, 161. In addition, the panoramic landscape lying beneath the current painting, though visible only through x-radiography and infrared reflectography at 1.5 to 1.8 microns [fig. 8:40-56 Capernaum (?) "Rembrandt's Christ in the Storm on the Sea of Galilee Re-examined." 12 (1996): 93–149. Josua Bruyn. 12 (1996): figs. )[14]  [14]The list of the Venetian painter’s guild includes the name “Alberto Fiammingo,” and no other name that could reasonably refer to Lambert Sustris. "The Art Collection of John Hope." 2; and Rainald Grosshans, Maerten van Heemskerck: Die Gemälde (Berlin, 1980), cat. 12 (1996): 126, fig. At dawn, Christ appeared at the shore and told them to cast their nets to the right side of the boat, where the catch would be plentiful. "A Selection of Signatures, 1632-1634." On Lambert Sustris as “Albert d’Ollanda,” see Arthur Peltzer, “Chi è il pittore ‘Alberto de Ollanda,’” Arte Veneta 4 (1950): 118–122; see also Bert W. Meijer, in Venezia da stato a mito (Venice, 1997), 134–135. 12 (1996): 110–113, 124–137; Bert W. Meijer, “Flemish and Dutch Artists in Venetian Workshops: The Case of Jacopo Tintoretto,” in Renaissance Venice and the North: Crosscurrents in the Time of Dürer, Bellini and Titian, ed. Sir Joshua Reynolds. In the 1540s he was active as a painter of fresco cycles decorating palaces and villas on the Venetian terraferma, and he seems to have played a role in developing the characteristic domestic decoration style there, especially its landscape components, which combine the Roman antiquarian landscapes of Polidoro da Caravaggio with elements of northern panorama and Venetian pastoral lyricism [fig. The disciples are in a boat and Peter is sinking as he walks toward the Savior. A Corpus of Rembrandt Paintings, II (The Hague, 1986), pp. A composition particularly close to that in the Washington painting occurs in the background of a print after Lambert Lombard illustrating the Miracle of the Loaves and Fishes, dated 1555; see Robert Echols, “Tintoretto, Christ at the Sea of Galilee, and the Unknown Later Career of Lambert Sustris,” Venezia Cinquecento 6, no. When Peter saw Christ, he jumped into the water to swim to shore. cat. This painting has previously been attributed to Tintoretto based on stylistic elements such as the dramatic treatment of light and the dry white brushwork that highlights the rolling waves. Circle of Jacopo Tintoretto (Probably Lambert Sustris), overall: 117.1 x 169.2 cm (46 1/8 x 66 5/8 in. 1) by Sustris. 6: Rembrandt's Paintings Revisited - A Complete Survey (The Hague, 2014), pp. [fig. 4] Infrared reflectogram, Circle of Jacopo Tintoretto (Probably Lambert Sustris), Bert W. Meijer, “Flemish and Dutch Artists in Venetian Workshops: The Case of Jacopo Tintoretto,” in, An early prototype appears in Konrad Witz’s, While early ascriptions of this latter subject to the present painting may have been based on the fact that it appears to show Christ with one foot on the surface of the water, Anna Pallucchini, followed by Pallucchini and Rossi, insisted on the stormy water as the defining element. By descent to Thomas Hope (1769-1831), Adrian Elias Hope (1772-1834), and Henry Philip Hope (1774-1839) sons of John Hope and Philippina Barbera van der Hoeven, Amsterdam in 1790. 411 (“Christ saving Peter”); Harold Wethey, El Greco and His School (Princeton, NJ, 1962), 1:90 n. 113; Anna Pallucchini, National Gallery, Washington: Musei del Mondo (Milan, 1968), 5; and Rodolfo Pallucchini and Paola Rossi, Tintoretto: Le opere sacre e profane (Venice, 1982), 1:178–179, cat. Giorgio Vasari, Le vite de’ più eccellenti pittori scultori e architettori, ed. 12 (1996): 94. In 1948, Hans Tietze gave the picture to El Greco, a conclusion reached by Manolis Chatzidakis in 1950 as well. Purchase by J. Wubbels at the Braamcamp sale, Amsterdam on 31 July 1771 for 4360 guilders, lot 172. 1570s,” Italian Paintings of the Sixteenth Century, NGA Online Editions, https://purl.org/nga/collection/artobject/41637 (accessed May 02, 2021). C79. For example, Terisio Pignatti, in Golden Century of Venetian Painting (Los Angeles, 1979), 106. Only Christ depicted on the right has remained calm. . Nor has the attribution gone unquestioned. Plesters has stated that she never believed the Gallery’s painting to be by Tintoretto (letter to Robert Echols, February 7, 1994, copy in NGA curatorial files). Catalogue. 8, 9a, and 9b. West Building The Storm on the Sea of Galilee was previously in the Isabella Stewart Gardner Museum in Boston. 224. Christ In The Storm On The Sea Of Galilee, dated 1633, coincided with a burgeoning period in the young artists life, after he had moved to Amsterdam and was enjoying a fruitful burst of commissions from various patrons. 9:18-26. . Collection of Henry Philip Hope possibly by 1802 and exhibited at the home of his eldest brother, Thomas Hope (1769-1831), London in 1819. A copy of August L. Mayer’s manuscript opinion of 1925 is in NGA curatorial files. Mid-16th-century examples include Pieter Brueghel the Elder, Landscape with Christ at the Sea of Galilee (private collection, England), 1553, and Maerten van Heemskerck, Christ on the Sea of Tiberias (Bowes Museum, Barnard Castle, England), 1567; see Fritz Grossman, Bruegel: The Paintings, 2nd ed. 1] Infrared reflectogram, Circle of Jacopo Tintoretto (Probably Lambert Sustris), Christ at the Sea of Galilee, c. 1570s, oil on canvas, National Gallery of Art, Washington, Samuel H. Kress Collection. [25]  [25]An early prototype appears in Konrad Witz’s Saint Peter Altarpiece of 1444 (Musées d’Art et d’Histoire, Geneva). In addition, the visual evidence provided by the three documented “Alberto” portraits of 1591 is consistent with what Lambert might be expected to have produced some four decades after his documented portraits, now working in a more Tintoretto-influenced mode. Delacroix treated this subject several times in 1853-54, and this series of canvases can be divided into two parts: those with rowboats and those with sailboats. Dated 1633, it was made shortly after Rembrandt moved to Amsterdam from his native Leiden, when he was establishing himself as the city’s leading painter of portraits and historical subjects. Hans Tietze, Treasures of the Great National Galleries; An Introduction to the Paintings in the Famous Museums of the Western World (New York, 1954), 115, 125, is less definitive on the attribution, noting that the picture is “ascribed to Tintoretto, but may also be considered as a possible El Greco.” 12 (1996): 126, fig. Eighteenth-century critics like Arnold Houbraken often preferred this early period to Rembrandt’s later, broader, and less descriptive manner. ), Rembrandt Creates Rembrandt: Art and Ambition in Leiden, 1629–1631. Detlev von Hadeln (Berlin, 1914), 1:225. Note: Exhibition history, provenance, and bibliography are subject to change as new information becomes available. Jill Dunkerton, “Tintoretto’s Painting Technique,” in Tintoretto, ed. 6th St and Constitution Ave NW JOHN 21:1-25. 1] Infrared reflectogram, Circle of Jacopo Tintoretto (Probably Lambert Sustris). Robert Echols and Joanna Dunn based on the examination report by Paula De Cristofaro and the treatment report by Susanna Griswold. 33, 34, and 78. “Lamberto si tratenne per qualche tempo in Venetia, servendo medesimamente alcuna volta à Titiano & al Tintoretto nel far paesi.” Carlo Ridolfi, Le maraviglie dell’arte, overo Le vite de gl’illustri pittori veneti, e dello stato (Venice, 1648), 1:204–205; Carlo Ridolfi, Le maraviglie dell’arte, overo Le vite de gl’illustri pittori veneti, e dello stato, ed. 12 (1996): 93–149. 2.59. (related artist) On Tintoretto’s pictorial technique, see Jill Dunkerton, “Tintoretto’s Painting Technique,” in Tintoretto, ed. As a young man, he moved to Venice and is believed to have worked in the studios of both Jacopo Tintoretto (Venetian, 1518 or 1519 - 1594) and Titian (Venetian, 1488/1490 - 1576), painting landscapes. Another example is provided by the decoration of the Villa dei Vescovi at Luvigliano. Among Holy Land sites, the Sea of Galilee has changed comparatively little since Jesus walked on its shores and recruited four fishermen as his first disciples. 195 no. C90, reaffirmed the Sustris attribution. See Vincenzo Mancini, Lambert Sustris a Padova: La Villa Bigolin a Selvazzano (Selvazzano Dentro, 1993), figs. Apr 2, 2021 - Shop Christ in a storm on the sea of Galilee -Rembrandt Postcard created by BestArtGifts. The … By descent to Adèle Bichat Hope (d.1887), widow of Henry Thomas Hope, in 1862. Collection of Gerrit Braamcamp (1699-1771), Amsterdam before 1750. As told in John 21:1–13, they had been fishing all night without success. Infrared reflectography was performed using a Santa Barbara Focalplane InSb camera fitted with an H astronomy filter. J. W. Niemeijer. A Corpus of Rembrandt Paintings, III (The Hague, 1986), p. 6 fig. Jesus raised Jairus’s daughter from the dead near the Sea of Galilee (Mark 5:21–43) and healed a man with an unclean spirit (Mark 1:21–28). Journal of the Walters Art Gallery 1 (1938), pp. For other comparable figures, see 113 and figs. Most scholars have considered the picture to be an autograph work by Tintoretto, and many have ranked it among his masterpieces. By descent to Philippina Barbera van der Hoeven (d. 1790), widow of John Hope, Amsterdam in 1784. 100, fig. You may download complete editions of this catalog from the catalog’s home page. 15a, 15b, and 15c. 8, 10, 13, and 14. 197; Echols and Ilchman, “Toward a New Tintoretto Catalogue,” no. The Storm on the Sea of Galilee depicts the time when the disciples were terrified of the violent storm and are perplexed about their actions. They placed the picture in their “Circle of Tintoretto” checklist rather than considering it a studio work, stating, “Although it is possible that this picture was executed [by Sustris] in Tintoretto’s studio, it is far more distinctive than related works . In the days of Christ there were settlements and villages all around the lake and plenty of trade and ferrying by boat. 2; and Rainald Grosshans, Maerten van Heemskerck: Die Gemälde (Berlin, 1980), cat. no. See Robert Echols, “Tintoretto, Christ at the Sea of Galilee, and the Unknown Later Career of Lambert Sustris,” Venezia Cinquecento 6, no. 18. 40. "Stylistic Features of the 1630s: The History Paintings." Ferdinand-Victor-Eugène Delacroix, French, 1798 - 1863 [email protected]. A Corpus of Rembrandt Paintings, II (The Hague, 1986), pp. (painter), Jacopo Tintoretto 30 and 36, fig. Sea of Galilee. 8:22-25 Gadara region. In Josua Bruyn et al. [27]  [27]Monika Schmitter, “The Quadro da Portego in Sixteenth-Century Venetian Art,” Renaissance Quarterly 64, no. 26, 38-39, 41. Rembrandt’s most striking narrative painting in America, Christ in the Storm on the Sea of Galilee, is also his only painted seascape. In the Washington picture, the sea is not a detail, but the subject of the painting.”[6]  [6]A prominent example of Tintoretto’s treatment of a stormy sea is provided by Saint Mark Rescues a Saracen (Gallerie dell’Accademia, Venice). [1]  [1]The materials of the painting were analyzed by the NGA Scientific Research department using cross sections in conjunction with scanning electron microscopy with energy dispersive x-ray microanalysis (SEM-EDS), x-ray fluorescence spectroscopy (XRF), x-ray powder diffraction (XRD), and polarized light microscopy. [17]  [17]See Robert Echols, “Tintoretto, Christ at the Sea of Galilee, and the Unknown Later Career of Lambert Sustris,” Venezia Cinquecento 6, no. nos. [1] (Durlacher Brothers, New York). It is an ancient fishing boat from the 1st century AD, and although there is no evidence directly linking the boat to Jesus and his disciples it nevertheless is an example of the kind of boat Jesus and his disciples, some of whom were fishermen, may have used. which exemplify the Tintoretto studio ‘house style.’ Given its exceptionally high quality and the individuality of its style, an attribution to ‘studio of Tintoretto’ as an alternative to Sustris would not be appropriate in this case, and therefore we do not include it with the related works in the studio category.” Guillaume Cassegrain, Tintoret (Paris, 2010), 45, cited the painting as an example of the complexities involved in the Tintoretto catalog, arguing that it might represent either an “exercise in style” on the part of Tintoretto, a departure from his usual manner, or the work of a northern painter in Tintoretto’s studio, such as Sustris. Christ walking on the Sea of Galilee. 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