The young Christ triumphs within an almond of light, while the soldiers guarding the tomb appear terrified and dismayed at his appearance. Indeed, according to the scriptures, the resurrected body of Christ after death shines transfigured by the Spirit. Freely drawn from the engraving of Dürer's subject of the same name, the chromatic range displayed here is particularly sophisticated and rich, interwoven here and there with refined iridescences of a mannerist matrix, with original results of great visual impact. The landscape, which is the fifth on the left, is animated by small figures of wayfarers and by a city of invention that stands out in the distance, according to that lenticular precision in describing the details typical of the French pictorial tradition.

Given the portable format, the table in question was probably intended for the private devotion of wealthy citizens, who chose for their prayers to commission the artist with a theme particularly dear to the religious sensibility of the Renaissance: only, in fact, in the exercise of prayer and visual contemplation the faithful can see the Christ rising from death and sin to eternal salvation. & nbsp; & nbsp;

Jan van Scorel, to whom the painting offered in the lot is traditionally assigned, was highly successful Dutch artist with a large workshop in Utrecht specializing in the genre of portraits and altarpieces which he renewed in a modern key. He traveled for a long time to complete his training reaching the Holy Land: he met the works of Dürer whom he met in person in Nuremberg and stayed in Italy, between Venice and Rome, where he obtained the prestigious title of conservator of the Belvedere collections during the papal pontificate. Hadrian VI, his countryman.