Duccio di Buoninsegna's: "The Raising of Lazarus"

A very Happy Sunday! Here is the latest in our series of depictions of the day's Gospel:

Duccio di Buoninsegna (Sienna, c.1260-c.1319), The Raising of Lazarus, 1310-1311, tempera and gold on panel, 43.5 x 46 .4  cm, Kimbell Art Museum, Fort Worth (Texas)[CC]

This painting is a visual storytelling of John’s detailed account of the resurrection of Lazarus. From left to right, we see Christ and his apostles arriving too late at Bethany; Mary, followed by Jewish mourners, falling at His feet; the ever practical Martha questioning the order given by Jesus of opening of the tomb, as the body may already smell, a fact confirmed by the man plugging his nose; the risen Lazarus still bounded with strips of material. Duccio highlights the deeper meaning of this event, a public display of faith in Christ, by giving central stage to Martha who proclaimed her faith in Him before the miracle. 

Duccio also uses his revolutionary talent in portraying emotions by suggesting the distress of the Lord on His face. The genial idea of giving to Lazarus an upright position against the dark of the tomb creates an intense face to face between Christ and his friend whose cheeks are getting rosy. It is indeed a public prefiguration, but just known to Him, of His forthcoming death and resurrection.

At the beginning of the 14^th C., Duccio played a capital role in the history of painting by introducing more naturalism and life in the prevailing Byzantine style. This panel was part of the huge double faced altarpiece, a Maesta, now dismantled, that he painted for the cathedral of his home town, Sienna. The panel was certainly the last one on the right of the predella, at the bottom of the altarpiece, close to the altar.