Oil on wood panel, thinly glazed, unsigned. 40.5 x 26 cm. On the reverse an old restoration note by a Dessau painter and restorer "Restored 1924 14/5. H. [Heinrich] Schmidt-Rom - Dessau Askanischestr. 38", painting surface slightly warped, restored, minor signs of age, framed, old frame label with erroneous attribution "Govert Flinck."

An extraordinary work, possibly a preliminary study for the canvas painting of 1631 of this subject in the Art Gallery and Museum in Brighton, Great Britain. In contrast to that painting and an associated drawing, the present work is in a much more upright rectangular format and is in reversed orientation, therefore similar to the Lievens etching of the subject published shortly thereafter. In addition, to the right and left of Jesus, figures can clearly be seen - probably only depicted in the drawing - which are completely missing in all other versions. 

Lievens was a Dutch Golden Age painter who was associated with his close contemporary Rembrandt, a year older, in the early parts of their careers. They shared a birthplace in Leiden, training with Pieter Lastman in Amsterdam, where they shared a studio for about five years until 1631. Like Rembrandt he painted both portraits and history paintings.

The Gospel of John reports that Lazarus and his sisters Martha and Mary were close friends of Jesus. However, during Jesus' absence from Bethany, Lazarus died and had already been buried for four days when Jesus arrived at his friend's grave. The following event, captured in the image, is described in the Gospel of John as follows (John 11:41-44): "... Then they took away the stone [from the tomb]. Jesus lifted up his eyes and said [to God], "Father, I thank you that you have heard me. I knew that you always hear me; But because of the crowd around me, I have said it, so that they may believe that you sent me." After he had said this, he cried out in a loud voice, "Lazarus, come out!" Then the deceased came out; his feet and hands were bound with bandages, and his face was wrapped with a cloth. ..."

Lievens depicts the biblical narrative in a most expressive way as a dramatic event full of mysticism and horror, transporting the viewer to a dark tomb with an open sarcophagus deep in the ground. Only dim light illuminates the scene. Jesus stands praying at the tomb with a halo and his gaze directed toward heaven, while a dark-skinned servant appears to be pulling an oversized white shroud from the tomb, from which two eerily raised hands toward Jesus, symbolizing Lazarus' resurrection. Behind the servant, two other figures are clearly recognizable. At the far left edge of the picture, the painter depicts an old Jew, incredulous. Astonished, with wide-open eyes, next to him, one of Lazarus's sisters, a professed disciple of Christ, appears lost in fervent prayer. All other figures in the composition remain vaguely indicated in the background. The artist effectively emphasizes the shroud, which dominates the painting, shining cold white against the general darkness. Lievens thus skillfully keeps the message "Memento Mori" before the viewer of the painting. He cleverly composes the depiction, with Jesus, Lazarus, and the shroud forming a triangle, symbolizing faith, death, and resurrection as the promise of Christian life. Lievens seems to have painted the present motif several times, including in reverse, around 1630—under the direct influence of Rembrandt in their shared workshop. 

Writing for The New York Times in 2008, art critic Ken Johnson said the known Lievens painting was "An unusually austere composition, it has a simplicity and openness that enhance its mystery." He also stated that Rembrandt enjoyed the painting so much that he acquired it and hung it in his home. When Rembrandt fell on hard times later in his life, he sold Jan Lievens' version of The Raising of Lazarus.

Writing for Smithsonian magazine, Matthew Gurewitsch describes the painting as "a gothic scene in a somber palette and with the utmost restraint". He goes on to say that Lievens does not portray Jesus with grand gestures and he portrays Lazarus only as two hands reaching out of a tomb. He uses pale light to permeate the darkness and express "intimations of spirituality."

Artist information: also Lievens de Oude, Livius Johanis le Vieux or Johannis Livens, Lievens, Lieversz, Lieverszoon, Lyrins, or Leyrens, Dutch painter, draftsman and etcher (1607 Leiden to 1674 Amsterdam), 1616–18 pupil of Joris van Schooten, 1618–20 pupil of Pieter Lastman in Amsterdam, here acquainted with his fellow pupil Rembrandt Harmenszoon van Rijn (1606 Leiden to 1669 Amsterdam), influenced by Peter Paul Rubens (1577–1640) and Anthonis van Dyck (1599–1641). 1621 returned to Leiden, 1625-32 maintained a workshop with Rembrandt - both artists influenced each other positively, 1632-35 worked for King Charles I in England, 1635 moved to Antwerp, 1635 member of the Guild of St. Luke, 1644 moved to Amsterdam, worked temporarily in The Hague in the Huis ten Bosch and in Oranienburg Palace near Berlin, 1655 returned to Amsterdam, source: Thieme-Becker, Saur "Bio-Bibliographisches Künstlerlexikon", Müller-Singer, Seubert, Müller-Klunzinger, Nagler, Wurzbach "Niederländisches Künstlerlexikon" and Wikipedia.