The Raising of Lazarus (after Rembrandt) - Vincent van Gogh
Archival giclée
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Description
A powerful interpretation of Rembrandt's etching, painted by Vincent van Gogh in 1890, featuring his signature expressive brushwork and symbolic use of colour.
Painted in May 1890 during his stay at the asylum in Saint-Rémy-de-Provence, this work represents Vincent van Gogh's interpretation of an etching by Rembrandt van Rijn. Van Gogh did not have access to the original plate, so he worked from a black-and-white reproduction. He translated the dramatic chiaroscuro of the Dutch master into his own distinct palette of yellows, greens, and ochres.
The composition depicts the biblical moment where Lazarus emerges from the tomb. Van Gogh replaces the figure of Christ, present in Rembrandt's original, with a radiant sun, which serves as a symbol of life and resurrection. The figures of Mary and Martha are rendered with expressive, heavy brushwork, their gestures conveying a sense of urgency and wonder. The background features a stylised, undulating sky that echoes the emotional intensity of the scene.
This painting is part of a series of copies Van Gogh produced towards the end of his life. He sought to engage with the works of artists he admired, such as Delacroix, Millet, and Rembrandt, to maintain his creative momentum during periods of confinement. By reinterpreting these subjects, he explored the relationship between traditional religious iconography and his own subjective experience of colour and form. The application of paint is thick and deliberate, creating a textured surface that captures the light in a way that differs from the smooth finish of the seventeenth-century original. The work remains a clear example of his ability to synthesise historical influence with his personal stylistic development, focusing on the emotional resonance of the narrative rather than a literal transcription of the source material.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
The Raising of Lazarus (after Rembrandt) - Vincent van Gogh
Artist Biography
Vincent Van Gogh
He taught himself to draw by copying prints and working through textbooks. His brother Theo, an art dealer in Paris, sent money every month for the rest of Vincent's life. Without Theo there are no paintings. The letters between them, over 600, are one of the most complete records of any artist's thinking. Van Gogh wrote about colour theory, composition, what he ate, what he read, how much he spent on paint. He was articulate and well-read and not, despite the popular version, simply mad.
He moved to Paris in 1886 and encountered Impressionism. The palette changed immediately: from the dark browns of his Dutch period to the colours people actually associate with his work. He met Gauguin, Pissarro, Signac, Toulouse-Lautrec. He absorbed Pointillism and Japanese prints. Then he moved to Arles in the south of France, where the light was better and people were fewer.
The Arles period produced Sunflowers, The Bedroom, Starry Night Over the Rhone. The breakdown followed: the argument with Gauguin, the severed ear (he cut part of his left ear, not the whole thing), the asylum at Saint-Remy, and then Auvers-sur-Oise, where he painted seventy canvases in seventy days before dying from a gunshot wound at thirty-seven. He sold one painting during his lifetime, or possibly two. Theo died six months later.
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