Paper

Student Artwork Guide

Lazarus

Name Class Date

Adriaen De Vries, Lazarus (1615), National Gallery of Denmark. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Adriaen De Vries originaluniqueart.com/en/artists/adriaen-de-vries/
Artist’s dates
1556 – 1626
Painted
1615
Medium
Bronze Molten metal poured into a mould made from the artist’s model, then finished and polished by hand.
Original size
41 x 65 cm
Movement
Mannerism Deliberately stretched bodies and odd, crowded spaces, made once perfect balance had already been achieved.
Held at
National Gallery of Denmark originaluniqueart.com/en/museums/national-gallery-of-denmark-copenhagen/
Artistic style
Mannerist
Notable elements or techniques
Serpentinata pose
Subject or theme
Lazarus and Cain Slaying Abel

In context

Lazarus — Adriaen De Vries

How big is it?

The original measures 41 × 65 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1550
  2. 1560
  3. 1570
  4. 1580
  5. 1590
  6. 1600
  7. 1610
  8. 1620

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 70 at death.

Painted when the artist was 59. The artist lived to 70. 10 of the 12 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Adriaen De Vries (1556–1626) ▲ this work, 1615 every dated painting, decade by decade

First works: up to 1596 Main working years: 1596–1610 Late works: from 1610

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/adriaen-de-vries-lazarus-D3Z3MR-en/

Colours

Measured from the image

    Main colour

    Espresso #3e3119

    Catalogued palette

    • #3E3119
    • #6D5F48
    • #CFC4BA
    • #A89A8B

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Espresso
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Bold How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Adriaen De Vries over the last twelve months — 4 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 44.4%
    2. 2 Belgium 33.3%
    3. 3 France 11.1%
    4. 4 Hong Kong 11.1%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 7 most looked-at works by Adriaen De Vries

    1. 1 Lazarus 41.7%
    2. 2 Mercury and Psyche, 1593 16.7%
    3. 3 Cain killing Abel, 1622 8.3%
    4. 4 Lazarus, 1615 this painting 8.3%
    5. 5 Victory of Rudolph II over the Turks, 1609 8.3%
    6. 6 Vir Dolorum, 1607 8.3%
    7. 7 Girl bathing 8.3%

    Together these works take 99.9% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 14 works by this artist, of which 7 were looked at at least once. This painting ranks 4 of them, with 8.3% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Lazarus — Adriaen De Vries

    The Echoes of Antiquity in Bronze

    To gaze upon this bronze sculpture is to be transported across centuries, into a moment imbued with profound companionship and classical grace. The subject matter itself—a man reclining amidst his loyal dogs—evokes timeless narratives of human connection, echoing themes found in Greek mythology or the solemn dignity of Roman life. The craftsmanship displayed here is nothing short of masterful; every fold of the toga, every sinew visible beneath the skin, speaks to the virtuosity of its creator. It captures not merely a pose, but an emotional resonance—the quiet bond between humanity and its most steadfast companions.

    Mannerist Flourishes and Technical Brilliance

    While the primary subject matter draws from classical antiquity, the execution hints at the sophisticated currents of the early 17th century. The artist, adriaen de vries, was deeply influenced by the dramatic dynamism characteristic of Mannerism. Although the specific piece described in the photo is not the famous Lazarus and Cain Slaying Abel, it shares a lineage with that period's love for serpentine lines and complex compositions. The bronze medium itself allows the artist to achieve an incredible sense of weightlessness despite the solidity of the material. Observe how the figures are arranged; there is a deliberate, almost choreographed flow through the composition, suggesting movement even in repose. This technical skill ensures that the piece reads beautifully from any vantage point.

    A Glimpse into 17th-Century Patronage

    The date of 1615 places this work within a vibrant period of artistic exchange, particularly notable in Northern European courts like that of King Christian IV. Artists such as de vries thrived by catering to patrons who desired art that was both intellectually stimulating and aesthetically dazzling. Owning a reproduction of such a piece allows one to connect with the tastes of an era obsessed with sophisticated display and narrative depth. It speaks to a time when art served not just as decoration, but as a complex cultural statement.

    Bringing Classical Drama Home

    For the discerning collector or designer, this sculpture offers more than mere ornamentation; it is a focal point steeped in history and emotion. The rich patina of bronze, even in reproduction, carries an inherent gravitas that elevates any interior space. Imagine this piece situated in a grand hall, beside a fireplace mantel, or within a library—it commands attention while whispering tales of Roman virtue and enduring loyalty. It is a tangible link to the masters who understood how to freeze a fleeting moment of profound feeling into permanent, breathtaking art.

    Artist and museum

    Artist

    Adriaen De Vries

    Born in The Hague, Netherlands

    The Master of Bronze and Motion

    In the grand tapestry of European art history, few names resonate with the fluid elegance and technical virtuosity of Adriaen de Vries. A preeminent sculptor of the Northern Mannerist tradition, de Vries possessed a rare ability to breathe life into cold metal, transforming bronze into a medium of profound emotional intensity and kinetic energy. Born in The Hague, Netherlands, his early years were shaped by a lineage of craftsmanship, with whispers of an apprenticeship under masters like Willem Danielsz. van Tetrode or perhaps within the meticulous world of goldsmithing. This foundation in fine detail would later become the hallmark of his mature style, allowing him to manipulate patina and refined modeling with an unparalleled delicacy that bridged the gap between the intricate Mannerist aesthetic and the burgeoning drama of the Baroque.

    His journey was one of constant movement across the great courts of Europe, a nomadic brilliance that saw him leave the Netherlands to seek glory in the heart of the continent. The influence of Giambologna, the legendary master he encountered in Florence, remains etched in the very sinews of his work. From this encounter, de Vries inherited a fascination with the figura serpentinata—the spiraling, twisting form that invites the viewer to circulate around the sculpture, discovering new perspectives and tensions with every step. As he moved through Milan and eventually into the service of powerful patrons like the Duke of Savoy and Emperor Rudolf II in Prague, his work became an international language of prestige, characterized by a sophisticated interplay of light and shadow across polished bronze surfaces.

    A Legacy Cast in Metal

    The true genius of de Vries lies in his ability to capture the ephemeral—a fleeting glance, a sudden muscular tension, or the divine transition of a soul. His sculptures are not merely static objects but frozen moments of profound narrative weight. Whether depicting the biblical tragedy of Cain killing Abel or the celestial grace of Mercury and Psyche, his work explores the depths of human impulse and mythological grandeur. In his hands, the bronze does not feel heavy; instead, it achieves an ethereal lightness, where limbs seem to float and drapery flows with a liquid grace that defies the medium's inherent rigidity.

    Beyond his technical mastery of casting and modeling, de Vries holds a significant place in art history as a transitional figure. His international style served as a vital link, carrying the refined complexities of Northern Mannerism into the more emotive and expansive era of the Baroque. Although the turbulent shifts of the Thirty Years' War and changing artistic tastes meant he left no direct followers to carry his specific flame, his impact remains indelible. Today, his masterpieces reside in the world's most prestigious collections, serving as enduring testaments to a sculptor who could command the very essence of motion through the permanence of bronze.

    Museum

    National Gallery of Denmark

    On show in Copenhagen, Denmark

    A Legacy Etched in Stone and Canvas: The Soul of the National Gallery of Denmark

    The heart of Copenhagen beats with a cultural rhythm profoundly shaped by Statens Museum for Kunst (SMK), the National Gallery of Denmark. More than simply a repository of artistic treasures, SMK is a living narrative woven through centuries of Danish history and global artistic movements. Its story begins not as a grand public institution, but within the private collections of Danish royalty—an Art Chamber meticulously assembled over generations. This royal patronage laid the foundation for what would become a national treasure, a commitment to preserving beauty and fostering creativity that continues to resonate today. The visionary act of Gerhard Morell in 1750, proposing a dedicated painting collection, marked a pivotal moment, transforming a private passion into a public legacy. The museum’s evolution reflects Denmark's own journey, from its regal past to its embrace of modern innovation, standing as a testament to the enduring power of art to transcend time and culture.

    Stepping inside SMK is akin to embarking on an immersive voyage through art history. The European Art collection, spanning from 1300 to 1800, presents a breathtaking panorama of artistic achievement where the works of masters like Mantegna, Cranach, Titian, Rubens, and Rembrandt whisper tales of bygone eras. These canvases reveal not only technical brilliance but also the philosophical currents that shaped Western art, offering glimpses of religious devotion, aristocratic life, and the burgeoning spirit of humanism. The meticulous attention to detail—the layering of pigments and the subtle nuances of perspective—demonstrates an unparalleled understanding of artistic technique. One might find themselves lost in the serene composition of Mantegna’s

    Saint Sebastian

    , embodying Renaissance ideals of piety, or moved by the dramatic portrayal of faith and suffering in Rubens’ monumental

    The Descent from Calvary

    , executed with masterful brushwork and a vibrant, emotive color palette.

    A Balanced Perspective: From Nordic Light to Global Mastery

    While the museum celebrates international giants, its true strength lies in a balanced perspective that allows Danish and Nordic Art to take center stage. The galleries dedicated to the period from 1750 to 1900 chart the rise of Scandinavian painting through the celebrated “Golden Age.” Artists such as Abildgaard, Eckersberg, Købke, Ring, and Hammershøi capture the unique light and atmosphere of the region, offering a distinctly Northern European sensibility. Their landscapes—particularly those depicting the rugged Skagen coast—are imbued with an almost palpable sense of place, capturing fleeting moments of coastal beauty. Furthermore, the psychological depth found in Hammershøi’s portraits provides a profound meditation on human character, distilling complex emotions onto canvas with a quiet, haunting intensity that continues to captivate modern collectors and enthusiasts alike.

    The museum's architectural presence is itself a captivating reflection of its historical evolution. The main building is not a single, monolithic creation but rather an elegant blend of architectural styles, accumulated through centuries of additions and renovations. This juxtaposition of old and new symbolizes the museum’s dedication to both preserving tradition and embracing contemporary expression. The 1993 extension stands as a bold statement of forward-thinking design, offering a sleek, modern space perfectly suited for showcasing the dynamism of 20th and 21st-century art. The soaring ceilings of the main hall, designed by Lundgaard Larsen Arkitekter, provide an impressive backdrop to monumental artworks, emphasizing scale and grandeur while creating a seamless transition through different historical epochs.

    Beyond the Canvas: Intimacy and Innovation

    What truly sets SMK apart are its unique collections that offer layers of historical context and intimate insight. The Royal Collection of Graphic Art, boasting over 240,000 works on paper, provides a delicate glimpse into the artistic process through everything from ethereal watercolors to powerful etchings. These prints represent a diverse range of styles—from Rembrandt’s masterful engravings to the poignant lithographs of Käthe Kollwitz—demonstrating the immense breadth of artistic expression across centuries. For those seeking a connection to the classical world, the Royal Cast Collection, housed at the West India Warehouse, features an astonishing array of plaster casts that bring ancient and Renaissance sculpture to life, making the study of classical forms a tangible, physical experience.

    This commitment to diversity is further reflected in the museum's recent exhibitions, which have explored themes ranging from Nordic Expressionism to Contemporary Photography. By engaging with current artistic trends and fostering dialogue about important social issues, SMK ensures it remains a vital, breathing institution. For the art lover, the collector, or the interior designer seeking inspiration, the National Gallery of Denmark offers more than just a viewing; it offers an encounter with the very essence of human creativity, celebrating Denmark’s unique achievements while simultaneously engaging with the grandest movements of the global stage.

    Where to read more

    Find this online

    QR code linking to the download page for Lazarus

    originaluniqueart.com/en/art/download/adriaen-de-vries-lazarus-D3Z3MR-en/

    Cite this artwork

    MLA
    Vries, Adriaen De. Lazarus. 1615, National Gallery of Denmark. https://originaluniqueart.com/en/art/adriaen-de-vries-lazarus-D3Z3MR-en/
    APA
    Vries, Adriaen De (1615). Lazarus [Painting]. National Gallery of Denmark. https://originaluniqueart.com/en/art/adriaen-de-vries-lazarus-D3Z3MR-en/
    Chicago
    Adriaen De Vries. Lazarus. 1615. National Gallery of Denmark. https://originaluniqueart.com/en/art/adriaen-de-vries-lazarus-D3Z3MR-en/
    Harvard
    Vries, Adriaen De (1615) Lazarus. National Gallery of Denmark. Available at: https://originaluniqueart.com/en/art/adriaen-de-vries-lazarus-D3Z3MR-en/

    Look closely

    Lazarus — Adriaen De Vries

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: bronze sculpture, dogs, man with dogs. Do you agree? What would you add, or take away?
    4. Look back at Mercury and Psyche (1593), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Mannerism: Deliberately stretched bodies and odd, crowded spaces, made once perfect balance had already been achieved. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    How strong are the colors of "Lazarus"?

    The color of "Lazarus" is muted in saturation and balanced in intensity.

    When was "Lazarus" created, and to which movement does it belong?

    "Lazarus" was made in 1615, within the Mannerism movement.

    What feeling is "Lazarus" associated with?

    "Lazarus" by Adriaen De Vries conveys a comforting emotional tone.