Room 8 - The Filippo Lippi Room
Artist: Nicholas Froment
Period: Uzes 1435-Avignon 1485
Title: Resurrection of Lazarus
Type: Tempera on wood,
Dimensions: 175x200
"Virtual Uffizi: the Complete Catalogue of the Uffizi Gallery in Florence Italy. Galleria Degli Uffizi." Uffizi Gallery, Florence. Web. 06 Dec. 2011. <http://www.virtualuffizi.com/uffizi1/artista1.asp>.
"Raising of Lazarus Triptych by Nicolas Froment » The Famous Artists." The Famous Artists » The Famous Artists. Web. 06 Dec. 2011. <http://www.thefamousartists.com/nicolas-froment/raising-of-lazarus-triptych>.
Signed and dated 1461; presented to the monastery of Bosco ai Frati in the Mugello by Cosimo the Elder who had received it as a gift from Francesco Coppini, the Papal Legate in Flanders. At the Uffizi since 1841.
The Resurrection of Lazarus in the Christian Bible is an important miracle which shows the power that God has given his son on Earth and foreshadows the power that Christ has over death. This triptych painted by Nicholas Froment presents the Resurrection of Lazarus and the story of Mary Magdalene and Martha flanking the sides of the painting. This specific Tiptych is done in the style of the Netherlands and presents in a realistic light. Not much is known about Nicholas Froment but historians assume because of his style that he was trained in the Northern regions of France (Grayson). He was a French Painter from Avignon and created this specific piece for the Monastery of Bosco ai Frati in the Mugello region. The date on the frame of the paint states that it was done May 18, 1461 (Famous painters). This painting has been present at the Uffizi since 1841 (Uffizi).
A triptych is a three panel painting that tells one cohesive story. While the panels can be separated and be complete by themselves when all three are together it illustrates a bigger story. This specific triptych seems to be showing the grace of the Lord towards those he loves dearly. When analyzing a triptych the most important idea to remember is that each panel connects to the other panel in a specific way. In many Triptychs painted during this era it was common to find shapes or angles within the painting to remind people of supernatural things. For example in this painting there are triangles being drawn using the positions of the people in the painting. In the center panel there is Christ standing in purple directing his praise to his father in heaven while Lazarus is under him. In the foreground of the painting standing next to Lazarus’ grave Martha is crying over the miracle that her Lord has just performed. The positioning of these three people creates, using angles, a triangle which points to the Trinity of God. While each single panel has angles that point to the trinity, when you look at the entire triptych there are angles connecting the paintings together helping to create one cohesive painting through three separate paintings.
On the left panel of the painting there is a depiction of Martha praying and showing adoration to Christ and on the right panel there is a depiction of Mary Magdalene washing Christ’s feet with her tears. The beauty of this painting is within the technique and intentionally of each position and color of subjects in the painting, but the beauty is also a strong quality of this triptych. It tells the story of how people have been changed by Christ. It shows Martha devoting herself to Christ in faith not works, Mary Magdalene having the faith of a Child and a desire to give Christ everything that she has, and Lazarus, whom Christ loved, rising from the dead at a command. It shows the power that God has to change his people from being dead in their sin to be alive in Christ.
This specific triptych points to the power and grace of Christ showed through biblical accounts. Each panel depicts a miracle of the Bible; Martha giving up the idol of herself, Mary Magdalene giving coming to repentance, and Lazarus being given life after three days. The power of this panel is the message of Christ changing those he loved and renewing them for their benefit and the benefit of Christians for the rest of history.
Bibliography
Grayson, Marion. "The Northern Origin of Nicolas Froment's Resurrection of Lazarus Altarpiece in the Uffizi Gallery." Google Books. Web. 6 Dec. 2011. <http://www.jstor.org/pss/3049528>.
"Virtual Uffizi: the Complete Catalogue of the Uffizi Gallery in Florence Italy. Galleria Degli Uffizi." Uffizi Gallery, Florence. Web. 06 Dec. 2011. <http://www.virtualuffizi.com/uffizi1/artista1.asp>.
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