Editions
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The Resurrection
probably 1491 · tempera on panel · National Gallery of Art, Washington
For Easter
Sizes
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Dots per inch: how many pixels of the museum’s file go into each inch of paper. Our floor is 240 for sheets up to 20 inches, 180 up to 36 inches and 120 beyond, because a larger print is seen from further away. We never offer a sheet below the floor, and the number on each size is the one you receive.
Printed to order · the whole painting, never cropped · if it arrives damaged, we replace it
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All editionsAbout this painting
Christ stands barefoot on His own tomb, the banner in His hand, the lid knocked aslant below Him, and the guards lie where they fell in their bright armour. No evangelist saw this. London's National Gallery says it flatly: no Gospel writer describes Christ standing on His tomb. Matthew gives guards who became as dead men, and women who find the stone rolled back. Benvenuto di Giovanni painted it beneath the Ascension he signed in 1491 for Sant'Eugenio outside Siena, and when the altarpiece was moved, the Kress Foundation notes, its predella was divided among the monks' cells. The rising no one saw hung on a monk's wall.
Sources: The National Gallery, London, 'The Resurrection', Imitator of Andrea Mantegna, NG1106, catalogue text. · Matthew 28:1-6, Douay-Rheims (Challoner). · Samuel H. Kress Foundation, Kress Collection record, 'The Crucifixion', K1647B (companion panel), provenance notes. · National Gallery of Art, artist biography, Benvenuto di Giovanni (NGA Systematic Catalogue). · Google Arts & Culture, National Gallery of Art, 'The Resurrection', Benvenuto di Giovanni. · National Gallery of Art, Washington, 'The Resurrection', Benvenuto di Giovanni; exhibition history.
The Record
The original, as its museum records it
Every line above is reproduced from the holding institution’s own catalogue entry, which is linked. Where their title, date or attribution differs from ours, theirs is the one printed here.
The file this print is made from
| Artist | Benvenuto di Giovanni (Sienese, 1436–before 1517) |
|---|---|
| Date | probably 1491 |
| Museum | National Gallery of Art, Washington |
| Accession | 1952.5.55 |
| Medium | tempera on panel |
| Dimensions | painted surface: 42.1 × 47.4 cm (16 9/16 × 18 11/16 in.); overall: 43.5 × 49.7 cm (17 1/8 × 19 9/16 in.); framed (with four other paintings): 59.69 × 283.21 × 5.4 cm (23 1/2 × 111 1/2 × 2 1/8 in.) |
| Sheet sizes | 18×24 in, 24×36 in, 32×48 in, 40×60 in |
| Held by | National Gallery of Art, Washington · 1952.5.55 the museum’s record |
|---|---|
| Source file | the National Gallery of Art’s own open-access file (IIIF) |
| Licence | public domain; the file released under CC0 |
| Master | 7,855 × 6,930 px, the file our printer receives |
| Chain | Taken from the National Gallery of Art’s own open-access file (IIIF) on 1 September 2026; held as our print master. |
The sheets
Printed on demand. Public-domain masterwork, reproduced from a 7,855 px master of the original. The whole image is printed — never cropped to fit the sheet — so every sheet carries an archival margin, and the dimensions and resolution listed above are the ones you receive.