Where can I see Entry into Jerusalem; Last Supper; Crucifixion; Resurrection?

Entry into Jerusalem; Last Supper; Crucifixion; Resurrection is held by National Gallery of Art.

What movement is Entry into Jerusalem; Last Supper; Crucifixion; Resurrection?

Entry into Jerusalem; Last Supper; Crucifixion; Resurrection is associated with Baroque.

Artwork

Entry into Jerusalem; Last Supper; Crucifixion; Resurrection

Entry into Jerusalem; Last Supper; Crucifixion; Resurrection is an ink print by the Baroque artist Jacques Callot. It dates from 1634 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created circa 1634, this etching by Jacques Callot presents four pivotal episodes from the New Testament within separate oval frames. Executed on laid paper, the work combines narrative clarity with the intricate line work characteristic of Callot’s printmaking, offering a compact visual chronicle of Christ’s entry into Jerusalem, the Last Supper, the Crucifixion, and the Resurrection.

Subject & Meaning

Each panel isolates a distinct biblical moment: the triumphant crowd greeting Jesus on a donkey, the intimate gathering at the Passover meal, the stark depiction of the crucified Christ, and the risen figure ascending with outstretched arms. Together they trace the theological arc of passion and triumph, inviting contemplation of the events that shape Christian belief.

Technique & Style

Callot employs fine, incisive lines to delineate figures and architecture within the limited oval spaces, achieving a dense sense of movement. The etching’s contrast of light and shadow, achieved through careful acid biting on the copper plate, enhances the drama of each scene while maintaining the delicate texture of the laid paper substrate.

History & Provenance

The print originates from Callot’s prolific period in the Duchy of Lorraine, where he produced over a thousand etchings covering military, courtly, and religious subjects. While specific ownership records for this sheet are scarce, it reflects the broader circulation of devotional prints in early‑17th‑century Europe, intended for private contemplation or small‑scale distribution.

Context

During the Baroque era, visual narratives of Christ’s life were popular in both public worship and private devotion. Callot’s work aligns with contemporary trends that favored detailed, emotionally resonant representations, and his skill in rendering complex scenes on a modest scale made such prints accessible to a wide audience.