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Christ at the Sea of Galilee
c. 1740 · oil on canvas · National Gallery of Art, Washington
Sizes
image 22.6×18 in on a 24×18 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 on the shore in a wind that bends the trees, one arm out over the water. Peter is in the sea, and the sea is not calm. Two Gospels share the canvas: Christ on the shore and the miraculous draught of fishes, as John tells it, and the raging water of Matthew, where Peter walks and begins to sink. Peter Lukehart, in the National Gallery of Art's systematic catalogue, reads Alessandro Magnasco as conflating the two, and Washington's titles record the difficulty: Christ Calling Saint Peter in 1941, Christ at the Sea of Galilee now. Howard Oakley finds the spume-rich water unique among the many paintings of the story, with Peter probably sinking, just about to be rescued. The hand is already out.
Sources: Peter Lukehart, 'Alessandro Magnasco', in Diane De Grazia and Eric Garberson, Italian Paintings of the Seventeenth and Eighteenth Centuries (National Gallery of Art Systematic Catalogue, Washington, 1996), pp. 177-188; read as the author's upload. · Howard Oakley, 'The Story in Paintings: Alessandro Magnasco, a maverick', The Eclectic Light Company, 10 April 2016. · National Gallery of Art, Washington, 'Christ at the Sea of Galilee', bibliography; re-read 2026-09-01. · Samuel H. Kress Foundation, Kress Collection record, 'Christ at the Sea of Galilee', K1221. · National Gallery of Art, artist page, Alessandro Magnasco. · John 21:4-8 and Matthew 14:29-31, Douay-Rheims (Challoner).