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The Transfiguration
c. 1478–1479 · olio su tavola (oil on panel) · Museo e Real Bosco di Capodimonte, Naples
For the Transfiguration · 6 August
Sizes
image 10×7.6 in on a 10×8 in sheet
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Dots per inch: how many pixels of the museum’s file go into each inch of paper. Our floor is 240 for sheets up to 20 inches, 180 up to 36 inches and 120 beyond, because a larger print is seen from further away. We never offer a sheet below the floor, and the number on each size is the one you receive.
Hahnemühle Photo Rag, 308 gsm cotton rag · pigment inks · printed to order
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All editionsAbout this painting
Christ stands in white with both hands raised, and of the three below Him no two look the same way, as if they could not place the voice. Matthew says His face shone as the sun and His garments became white as snow. Moses and Elijah flank Him, scrolls in hand. Dermot Morrin reads the stump at the left as the Passion and the new growth around it as the Resurrection: the glory already holds a death. For Christ's cloak Bellini used stibnite, the earliest known use of the pigment in Western painting. The three stay on the ground; Christ keeps His hands open.
Sources: The Father's voice from the cloud, 'Questi è il Figlio mio, l'eletto' (This is my Son, the Chosen One) · Moses and Elijah shown with legible Hebrew-inscribed scrolls; standard Law/Prophets reading of their presence · Peter, James and John each looking a different direction, as if trying to locate the divine voice · Dermot Morrin OP, "Bellini's Transfiguration at Naples", St Albert's Catholic Chaplaincy, Edinburgh. · Luke 9:31, Douay-Rheims (Challoner). · Museo e Real Bosco di Capodimonte, 'Restaurata la Trasfigurazione di Bellini, capolavoro del maestro veneziano'.
And he was transfigured before them. And his face did shine as the sun: and his garments became white as snow.
Matthew 17:2 · Douay-Rheims (Challoner)