The Raising of Lazarus

The appointment of von Gebhardt, a native of the East Baltic region, to the Kunstakademie Düsseldorf in 1874, led to a rejuvenation of religious history painting. In line with his interest in Biblical miracles of healing, Gebhardt proves himself a mature artist in his depiction of the parable of the Raising of Lazarus with his typical, decidedly free interpretation. By including the conversation between Jesus and Mary, sister of Lazarus, he presents different elements of the story of the miracle at one and the same time. Martha, the second sister standing behind her, bears the traits of Gebhardt’s fatally ill wife, while he gave the bearded man in the background his own face. The painter transposes the scene into a cemetery around 1890, whereby the robes point to a period around 1500, thus relating history and present. The array of feelings expressed here may seem a bit comical today. What was meant as missionary fervor presented with due pathos however fostered the artist’s popularity in his day. (Kathrin DuBois)