The Resurrection of Lazarus - Caravaggio
Archival giclée
Frames arrive ready to hang
Secure checkout
Made to order
Description
A dramatic Baroque masterpiece by Caravaggio, depicting the biblical resurrection of Lazarus through intense light and shadow.
Painted in 1609, this work represents the final period of Caravaggio's career in Sicily. The composition depicts the biblical narrative of Jesus calling Lazarus from the tomb. Caravaggio employs his signature tenebrism, where a singular, sharp light source cuts through the deep shadows of the cavernous space. This technique directs the viewer's eye to the central action: the physical emergence of Lazarus from the darkness into the light of Christ's command.
The figures are arranged in a frieze-like manner, with Christ positioned on the left, his arm extended in a gesture of authority. Lazarus is shown in a state of transition, his body caught between the rigidity of death and the sudden return of life. The surrounding figures display a range of human reactions, from astonishment to grief. Caravaggio avoids idealised forms, choosing instead to render the figures with a raw, unvarnished realism that was characteristic of his later works. The palette is restrained, dominated by earthy tones, deep ochres, and dark browns, which serve to heighten the dramatic tension of the scene.
This painting was commissioned by Giovanni Battista de' Lazzari for the church of the Padri Crociferi in Messina. It is a study in human mortality and the power of the miraculous. The composition is notable for its vast, empty upper space, which adds to the sense of isolation and the weight of the tomb. The physical presence of the figures, combined with the stark contrast between light and shadow, creates a sense of immediate, tangible reality. It remains a primary example of the artist's ability to translate complex theological themes into visceral, human experiences through the medium of paint.
Return policy
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.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
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 Resurrection of Lazarus - Caravaggio
Artist Biography
Caravaggio
Before the killing, he had already transformed European painting. He arrived in Rome from Milan in the early 1590s, hungry and unknown, and within a decade had developed a method of painting from life, using strong directional light against deep shadow, that made the prevailing Mannerist style look theatrical and empty. He used real people as models: prostitutes, street boys, labourers. His saints had dirty feet. The Church commissioned altarpieces and then rejected them for being too vulgar, too real, too much like the people who actually attended church.
The Calling of Saint Matthew, painted for the Contarelli Chapel in San Luigi dei Francesi, is his method at its clearest. The light enters from the upper right like a blade. Matthew sits at a tax collector's table with his companions. Christ points. The scene looks like something you might see through a doorway, which is roughly the viewer's position. Nothing is idealised. The moment is ordinary and sacred simultaneously.
After the killing he fled to Naples, then Malta, then Sicily, then back to Naples. He kept painting. The late works are darker, faster, more desperate. He received a papal pardon and boarded a boat north. He died on a beach in Porto Ercole in July 1610, at thirty-eight. The cause is unknown: fever, infection, possibly lead poisoning from his paints. His influence on Rembrandt, Velazquez, Georges de La Tour, and every painter who has ever used a spotlight is difficult to overstate.
Why Choose Us ?
Damage-free delivery guarantee
Fast Shipping
Museum-Quality Materials
You May Also Like