The Baptism of Christ
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
Sizes
About this painting
Christ is a small thing in it. Howard Oakley finds no other Baptism set in a storm: the Jordan runs with white horses, and the figure in it is white too, with a golden star over his head where a halo should be. The white is what lets you find him.
Peter Lukehart, in the Gallery's catalogue, notes the landscape laid on in thick swaths with random strokes; the pendant beside it, Christ at the Sea of Galilee, has the same churned water. Everything in the picture is moving except the small white man in the river.
Sources: Howard Oakley, 'The Story in Paintings: Alessandro Magnasco, a maverick', The Eclectic Light Company, 10 April 2016. · Peter Lukehart, 'Alessandro Magnasco', in De Grazia and Garberson, Italian Paintings of the Seventeenth and Eighteenth Centuries (NGA Systematic Catalogue, 1996), pp. 177-188. · National Gallery of Art, artist page, Alessandro Magnasco. · Samuel H. Kress Foundation, Kress Collection record, 'The Baptism of Christ', K1191.
And it came to pass, in those days, Jesus came from Nazareth of Galilee and was baptized by John in Jordan.
Mark 1:9 · Douay-Rheims (Challoner), from the project’s own corpus at data/bible_drc.js
Printed on demand. Public-domain masterwork, reproduced from a 5,964 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.