Stylistically this imposing depiction of the Resurrection is a typical example of the artist's work, with its combination of dark greyish brown ink and chestnut-brown wash, massive but carefully outlined figures, distinctive facial types, and more freely drawn background. It was almost certainly made as a design for a glass panel. The scale and format of the sheet are very typical of glass designs by Swart, who tended to favour this larger, rectangular format for his works of this type, in preference to the roundels produced by many of his contemporaries.1 The dimensions of the present sheet are almost identical to those of three other drawings by the artist (two showing scenes from the life of King David, the other Moses with the Ten Commandments) -- the only other substantial drawings by Swart that have appeared at auction over the last thirty years.2
Swart's work was influential in the formation of the styles of a number of Dutch glass-painters and designers of the next generation, most significantly the Crabeth brothers, who masterminded the astonishing stained glass cycle in the Sint Janskerk, Gouda.
1. T.B. Husband, The Luminous Image. Painted Glass Roundels in the Lowlands, 1480-1560, exhib. cat., New York, The Metropolitan Museum of Art, 1995, p. 166
2. Sold: New York, Sotheby's, 13 January 1989, lot 158; Amsterdam, Sotheby's, 19 May 2004, lot 16; New York, Sotheby's, 26 January 2005, lot 58
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