Transfiguration (Raphael) in the context of The Raising of Lazarus (Sebastiano del Piombo)


Transfiguration (Raphael) in the context of The Raising of Lazarus (Sebastiano del Piombo)
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👉 Transfiguration (Raphael) in the context of The Raising of Lazarus (Sebastiano del Piombo)

The Raising of Lazarus is a large altarpiece of 1517–1519 by the Italian High Renaissance artist Sebastiano del Piombo, for which Michelangelo supplied drawings for some figures. Intended for Narbonne Cathedral in France, it is now normally in Room 18 of the National Gallery in London, where it is "NG1", the first painting catalogued at the founding of the gallery in 1824.

It was commissioned by Cardinal Giulio de' Medici, then Archbishop of Narbonne and later Pope Clement VII (r. 1523–24), in what was effectively a contest engineered by Michelangelo, using Sebastiano as "a kind of deputy", or "cat's paw", in a rivalry between the two and Raphael, whose Transfiguration (now in the Vatican Pinacoteca) is the same size of 381 cm × 299 cm (150 in × 118 in) and was commissioned for the same cathedral. The verdict of Roman critical opinion was that Raphael's painting won.

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Transfiguration (Raphael) in the context of Transfiguration of Jesus

The Transfiguration of Jesus is an event described in the New Testament where Jesus is transfigured and becomes radiant in glory upon a mountain. The Synoptic Gospels (Matthew 17:1–8, Mark 9:2–13, Luke 9:28–36) recount the occasion, and the Second Epistle of Peter also refers to it.

In the gospel accounts, Jesus and three of his apostles, Peter, James, and John, go to a mountain (Mount Tabor, later referred to as the Mount of Transfiguration) to pray. On the mountaintop, Jesus begins to shine with bright rays of light. Then the Old Testament figures Moses and Elijah appear, and he speaks with them. Both figures had eschatological roles: they symbolize the Law and the prophets, respectively. Jesus is then called "Son" by the voice of God the Father, as in the Baptism of Jesus.

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