Young Jesus in the Temple
Bartholomäus Wittig (Breslau 1613/14–1684 Nuremberg)
Circa 1651
Oil on canvas
46 x 72.5 in.
Indistinctly signed and dated upper right: B. Wittig f / 51
Provenance:
- With Gallery Baumkotter, London, until 1976
- Art market, Germany
- Private collection, South Germany
This recently rediscovered painting is a significant addition to the limited known works of Bartholomäus Wittig, a Nuremberg-based artist of Breslau origin. The monumental canvas, characterized by confident brushstrokes, bold chiaroscuro, and vibrant interplays of red, blue, and yellow against a muted ochre background, exemplifies Wittig's ability to dramatize biblical narratives.
The painting depicts the Gospel episode from Luke 2:41–50, traditionally titled The Finding of the Saviour in the Temple. Joseph and Mary find the young Christ in the Temple, calmly engaging learned elders in theological debate. Wittig transforms the Temple scene into a contemporary, stage-like setting. The composition is organized around the illuminated figure of Christ, whose serene demeanor contrasts with the astonished expressions of the surrounding Church Doctors. Three repoussoir figures, seated in the foreground, direct the viewer’s attention toward the central action, enhancing the painting’s theatricality.
The authenticity of the work is supported by visible pentimenti (changes made during the painting process), including a notable alteration to the seated figure reading on the far right, initially depicted with his back to the viewer and a direct gaze over his shoulder.
Born the son of a merchant, Wittig trained under the Breslau painter Michael Duquesne (1587–1641). Though records suggest possible sojourns in Holland and Italy from 1634 to 1642, these cannot be verified. By 1642, Wittig was established in Nuremberg, where he remained without formal citizenship, leading to disputes with the painters’ guild. According to surviving correspondence, Wittig initially focused on small copper plates for clients in Italy and the Netherlands before turning to larger canvases.
This work, signed, dated, and of exceptional size, is a rare example of Wittig’s ability to merge dramatic lighting, vibrant color, and human emotion in a grand narrative tableau.
