Resurrection
c. 1455
Dieric Bouts (Flemish, c.1420-1475)
On View

One of the leading Northern European artists of his generation, Dieric Bouts favored a contemplative approach to painting that embodied an austere, powerful spirituality. As Christ rises from the tomb, the drama and theatricality of the moment are stilled by His serene yet intent gaze and by the lyrical landscape background. The scene unfolds in front of a wide, placid expanse of land, depicted with a sure-handed knowledge of luminous, atmospheric perspective. Successful and revered in his lifetime for his approach to landscape painting as well as his half-figure images of the Madonna and Child, the Haarlem-born Bouts oversaw an active workshop in Louvain after the 1440s—that is, for the majority of his career. His work draws from a variety of Northern and Southern Netherlandish predecessors, most notably Jan van Eyck and Rogier van der Weyden.

The Resurrection belongs to a now-dismembered four- or five-part altarpiece that tells the story of the life of Jesus. Other pieces of the original ensemble are now at the National Gallery in London (The Entombment) and the Getty Museum in Los Angeles (The Annunciation). Like pastel, the medium—distemper on unprimed linen (in German, tüchlein)—is inherently delicate and its colors fugitive, which makes it all the more extraordinary that this early canvas has survived in such a remarkably well-preserved condition. Now discolored from hundreds of years of exposure to light and dirt, the sky was originally a colorful display of pinks and blue, still evident along the upper border where the canvas was protected by a previous frame. The same pattern is apparent in its companion picture at the London National Gallery.

Details

  • Artist Name: Dieric Bouts (Flemish, c.1420-1475)
  • Title: Resurrection
  • Date: c. 1455
  • Medium: Distemper on linen
  • Dimensions: 35-3/8 x 29-1/4 in. (89.9 x 74.3 cm)
  • Credit Line: The Norton Simon Foundation
  • Accession Number: F.1980.1.P
  • Copyright: © The Norton Simon Foundation

Object Information

Foscari family (Venice and Vienna, c. 1810).
Count Diego Guicciardi, 1814-15.
Guicciardi family, Milan, by 1858.
Vittorio Melzi, Milan 1872.
Private collection, Milan (Vittorio Melzi?);
[Matthiesen, London, ca. 1946, sold ca. 1958 to];
Private Collection, London, (sale, London, Sotheby's, 16 April 1980, lot 114);
The Norton Simon Foundation.

Delle opere d'arte antica

  • Milan, Palazzo di Brera, 1872-08-26 to 1872-10-07
Bordeaux, Jean-Luc, Connaissnace des Arts, p. 37
Campbell, Sara, Collector Without Walls: Norton Simon and His Hunt for the Best, cat. 1646 p. 430
Milan, Brera, Catalogo delle opere d' arte antica esposte nel palazzo di Brera 26 Agosto-7 Ottobre, no. 38 p. 11
Harbison, Craig, The Mirror of the Artist in Northern Renaissance Art in its Historical Context, fig. 37 pp. 63, 65
Campbell, Sara, Standing By His Bid - Unless He Sat, p. 93
Koch, R., The Burlington Magazine, fig. 12 pp. 514-16
Calendar, J. Paul Getty Museum,
Baudouin, Frans, Dieric Bouts, no. 1 p. 20
Brooks, Valerie F., Art News, pp. 19-20
Boon, K.G., Bouts, Justus of Ghent, and Berruguete, p. 11
Leonard, Mark; Frank Preusser, Andrea Rothe and Michael Schilling, The Burlington Magazine, pp. 517-520
Humfrey, Peter, ed., The Cambridge Companion to Giovanni Bellini, fig. 20 pp. 82-83
Veronee-Verhaegen, Nicole, Early Netherlandish Painting, nos. 81 & 116, pl. 122 pp. 76, 89
Duret-Robert, François, Connaissance des Arts, p. 87
Nuttall, Paula, From Flanders to Florence: The Impact of Netherlandish Painting, 1400-1500, Fig. 199
Wolfthal, Diane, The Beginnings of Netherlandish Canvas Painting: 1400-1530, fig. 60 pp. 38-41
Luchinat, Cristina Acidini; Luciano Bellosi, Miklxós Boskovits, Pier Paolo Donati, Bruno Santi, Scritti per L'istituto Germanico di Storia dell'arte di Firenze, fig. 1 pp. 199-202
Reynolds, Catherine, Art at Auction: The Year at Sotheby Parke Bernet 1979-1980, fig. 1 pp. 19-21
Davies, Martin, Early Netherlandish School, p. 16
Artur Rosenauer, The Grimani Risen Christ, an early Titian rediscovered, fig. 11 pp. 15-16 ill.
Villers, Caroline, The Burlington Magazine, pp. 258-259
Snyder, James, Northern Renaissance Art, fig. 7.13 p. 147
Bomford, David, Ashok Roy, and Alistair Smith, National Gallery [London] Technical Bulletin, fig. 6 pp. 41, 45-46, 51
Stroo, Cyriel, et al., The Flemish Primitives II: The Dirk Bouts, Petrus Christus, Hans Memling and Hugo Van Der Goes Groups; Catalogue of Early Netherlandish Painting in the Royal Museums of the Fine Arts of Belgium, nos. 54, 57, fig. 49 pp. 113, 114, 118, 119, 122
Rosenauer, Artur, Titian: The Grimani Risen Christ. An Early Masterpiece, p. 16
Dunkerton, J., et al., Giotto to Dürer: Early Renaissance Painting in the National Gallery, fig. 32a pp. 296-297
Christiansen, Keith, Giovanni Bellini and the Art of Devotion, fig. 30 pp. 37-39
Miegroet, Hans Van, Mededelingen van de Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, fig. 15 pp. 95-96, 102, 105-106
Masterpieces from the Norton Simon Museum, p. 22
Han Belting, Keith Christiansen, et. al., Giovanni Bellini: Landscapes of Faith in Renaissance Venice, Figure 3 pp.17-18 (ill.); 23;104-109
MSS. National Gallery, London, Eastlake Notebooks 1858-1860,
Bauman, Guy; and Walter A. Liedtke, et al., Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America, fig. 127 pp, 63, 319
Silver, Larry, Bruegel, Fig. 212 p. 252
Marijnissen, R. H., Academiae Anatecta. Mededelingen van de Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, pp. 112-113
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