The Art World Commemorates Peter
— Album 15 of 17 Photo Albums —

[ James Tissot (French, 1836–1902): “The First Denial of Saint Peter (Premier reniement de Saint Pierre),” 1886–1894. Brooklyn Museum, purchased by public subscription, 00.159.245 (Photo: Brooklyn Museum, 00.159.245_PS1.jpg); see Tissot’s “Life of Christ” collection of 124 watercolors selected from a set of 350 that depict detailed New Testament scenes.]

Jacques-Joseph Tissot was “born in 1836, in Nantes, a seaport on the French coast. In 1856 Tissot went to Paris to train as a painter where he anglicized his Christian name to James to draw attention to himself. He experienced a profound religious experience and became increasingly devout.”^[1]

Peter’s First Denial  “When warned by Jesus that he’d deny him three times before the cock crows, Peter vehemently objected, asserting his fidelity while pledging to die alongside Jesus. However, Jesus’ prophecy was realized. Peter made his first denial to a maidservant who pointed an accusatory finger at him [shown above]. In his second denial [slide 20], Peter again rejected his association with Jesus when the maidservant again asked him that question. At Peter’s third denial [slide 8], a cock crowed as prophesied.”^[2] The basis of Tissot’s first denial scene painting can be derived from Mark’s gospel account (14:66–70):

“While Peter was below in the courtyard, one of the servant girls of the high priest came by. When she saw Peter warming himself, she looked closely at him. ‘You also were with that Nazarene, Jesus,” she said. But he denied it. ‘I don’t know or understand what you’re talking about,” he said, and went out into the entryway.

… Height: 10 1/2 in. (26.7 cm), width: 7 1/16 in. (17.9 cm)
… Photo source, license, attribution, museum details, and image enlargement: Brooklyn Museum
… The artist’s short biography; his other works of art

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Grégoire Huret (1606–1670)  Born in Lyon, France, an important center of printing, Huret began to engrave at a young age. He was one of the best-known engravers of his time — five hundred works completed — ranging from portraits to religious subjects, through illustrations for philosophy or theology theses. The triumphant story of the death and resurrection of Jesus Christ was the subject of numerous artists during the Renaissance. Huret’s thirty-two Passion of Christ engravings tell Jesus’ stories from his Last Supper to the Crucifixion.

This is Grégoire Huret’s plate 9 in his Passion of Christ series of engravings. In it he has dramatically presented Christ (center) as being besieged by a crowd of men drawing him toward Caiaphas the high priest (background-center). Meanwhile, haloed Peter, to the right, clasps his hands humbly as he looks upwards into Christ’s eyes in a painfully embarrassed yet adoring manner. When you look carefully at the center of Huret’s engraving, you’ll see a bright arrow pointing from Christ’s eyes directly toward Peter’s eyes [see detail].

The Latin text of plate 9’s footer of The Denial of Christ, in English, is this gospel passage: About an hour later another asserted, “Certainly this fellow was with him, for he is a Galilean.” Peter replied, “Man, I don’t know what you’re talking about!” Just as he was speaking, the rooster crowed. The Lord turned and looked straight at Peter. Then Peter remembered the word the Lord had spoken to him: “Before the rooster crows today, you will disown me three times.” And he went outside and wept bitterly (Luke 22:59–62).

… Height: 19 13/16 in. (50.3 cm), width: 14 1/8 in. (35.8 cm)
… Photo source, license, attribution, museum details, and image enlargement: The Met; Harris Brisbane Dick Fund, 1953
… No Huret biography found; view his other works of art

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Simon Bening (Flemish, c. 1483–1561)  “Through the dramatic miniatures in the prayer book that he illuminated for Cardinal Albrecht of Brandenburg, Bening encouraged the viewer to identify with Jesus in his Passion. The Denial of Saint Peter, set in an eerily lit hall, captures the climactic moment retold in Matthew’s gospel when Peter utters to a servant girl a third denial of his acquaintance with Jesus. She points to her left where Jesus is being led away through a doorway. Shown on the left, Peter’s expression reveals the depth of his agony as he realizes that Jesus’ prophecy — that Peter would deny Jesus ‘before the cock crows at dawn’ — has come true. The cock, with open beak, stands in the cupboard on the right.

“The intense glow of the fire in the center of the hall casts a naturalistic dramatic light on the scene, silhouetting a soldier standing between the viewer and the fire. The artist included other naturalistic details as well: the figure on the right, for example, yawns sleepily to indicate the late hour. Such prosaic details draw viewers into the story, encouraging them to feel as if they are a part of the scene.”^[1] See individual prayer book pages, compliments of Getty Museum.

This prayer book manuscript was painted with tempera colors, gold paint, and gold leaf. The text of this book is a collection of sixty-two devotional prayers, the majority of which focuses on Jesus’ life and Passion. The sequence of forty-one brilliantly colored full-page miniatures that Bening produced for the manuscript was designed to evoke an intense empathic response as the viewer contemplated Jesus' suffering.

… Leaf height: 6 5/8 in. (16.8 cm), width: 4 1/2 in. (11.4 cm)
… Photo source, license, attribution, museum details, and image enlargement: public domain, via The J Paul Getty Museum, Los Angeles
… The artist’s short biography; his other works of art

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Jan van der Venne “was a Flemish painter of genre, religious scenes, and cabinets who was court painter to the governors of the Southern Netherlands. Many of his works depict ‘low-life’ genre scenes of tooth-pullers, card-players and hurdy-gurdy players, and expressive religious scenes”^[1] He had a love for brownish tonalities. Very little is known about Jan van de Venne’s life and career. Therefore, attention herein will be made to Peter the apostle.

Peter’s shortcoming was his fear. Although the ten other disciples had promptly fled after Jesus’ arrest, Peter continued to follow Jesus, albeit from a distance, so as to prevent his being identified and/or acquainted with Christ. There’s no question that fear gripped Peter. He’d never stopped loving Jesus! But, because he acted out of fear instead of faith, he made decisions that weren’t aligned with his true calling. In fear, he denied the one who’d truly loved him.

Denial of Saint Peter  During the Last Supper, Peter assured Jesus that he’d never let him down; nevertheless, Jesus prophesied that Peter would deny his knowledge of him three times before the rooster next crowed. Sure enough, when Jesus was arrested, Peter made three distinct denials of knowing Jesus and/or being a follower of his. Peter’s expression herein, while clasping his hands prayerfully as he kneels, reveals the depth of his agony the moment he realized that Jesus’ prophecy had come true. Peter’s loss of moral courage was, however, followed by his true repentance and forgiveness, which can be seen in Warren Camp’s next collection of masterpieces titled “Repentant Peter” in Album 16.

… Height: 22 in. (56 cm), width: 15 1/3 in. (39 cm)
… Photo source, license, attribution, museum details, and image enlargement: Jan van de Venne, public domain, via Wikimedia Commons
… The artist’s short biography; his other works of art

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One of the greatest Italian painters of the Middle Ages, Duccio di Buoninsegna (1255–1318) painted the famous Maestà, a polyptych altarpiece. He was awarded a commission for it in 1308; when it was finally completed in 1311, a public holiday was declared. The altarpiece is a vast, horizontal style, two-sided wooden screen, originally measuring ±16 feet wide; it was designed for the high altar of Italy’s Siena Cathedral. Painted using egg-tempera on wood, the Maestà was dismantled in the late 18th century when parts of it were sold. The polyptych’s main front panel is in the Siena Cathedral’s museum.

“The painted panel shown above (scene 9) is one of the 26 narrative scenes from the Stories of the Passion on the reverse side of the Maestà; it’s situated in the bottom row, right side of the main section, below the scene of Jesus before Annas.”^[1] This series of altarpiece panels represents the most comprehensive Passion cycle to have survived. See the Maestà’s entire back panel (verso); its scenes 10 and 11 can be seen on slides 6 and 7. [To see many more of Duccio’s Maestà creations that feature Peter, open Warren Camp’s Albums #2, 4, 8, 9, 13, 14, and 15.]

“Today, most of this elaborate double-sided altarpiece is in that art museum. But several of the predella [base-level] panels are scattered in other museums. This is probably the most beautiful polyptych ever painted in Italy.”^[2] In Peter First Denying Jesus, a number of men are sitting, talking, warming their hands and feet. One of them, identified as Peter by his halo (center), is marked out from the rest by his green robes. The maid, standing at the left, points to Peter, accusing him of being a follower of Christ. This was Peter’s first denial act.

… Height: 19.7 in. (50 cm), width: 21.3 in. (54 cm)
… Photo source, license, attribution, museum details, and image enlargement: Web Gallery of Art; Museo dell'Opera del Duomo, Siena, Italy
… The artist’s short biography; his other works of art

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Duccio di Buoninsegna (1255–1318) is one of the greatest Italian painters of the Middle Ages. He painted the famous Maestà (Italian: “in majesty”), a polyptych altarpiece. It’s a vast, horizontal style, two-sided wooden screen, originally measuring ±16 feet wide. Having twenty-six Passion of Jesus scenes, it was designed for the high altar of Italy’s Siena Cathedral. Painted on wood using egg-tempera, the Maestà was dismantled in the late 18th century when parts of it were sold. The polyptych’s main front panel is in the Siena Cathedral’s museum. This represents the most comprehensive Passion cycle to have survived. See the Maestà’s entire back panel (verso); scenes 9 and 11 can be seen on slides 5 and 7. [To see many more of Duccio’s Maestà creations that feature Peter, open Warren Camp’s Albums #2, 4, 8, 9, 13, 14, and 15.]

We learn in Matthew’s gospel that “Those who had arrested Jesus took him to Caiaphas the high priest, where the teachers of the law and the elders had assembled. But Peter followed him at a distance, right up to the courtyard of the high priest. He entered and sat down with the guards to see the outcome” (Matt. 26:57–58). This Christ Before Caiaphas panel has Caiaphas (right) seated on a throne. Scenes on this and the next slide take place at the same location: the law court of the Sanhedrin, where Christ is brought before High Priest Caiaphas and the elders. Duccio assigned great importance to the person (right-center, rear) with raised hand and pointed finger, looking significantly at the onlooker. Caiaphas is depicted expressing wrath and indignation after hearing Jesus speak: with both hands on his breast he tears his red robe (v. 65). At the left, haloed Peter is confronted by two elders who accuse him, saying, “Surely you are one of them; your accent gives you away. Then he began to call down curses, and he swore to them, ‘I don’t know the man!” (vv. 73–74).

… Height: 18.1 in. (46 cm), width: 21.3 in. (54 cm)
… Photo source, license, attribution, and image enlargement: Web Gallery of Art; Museo dell'Opera del Duomo, Siena, Italy
… The artist’s short biography; his other works of art

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The famous Maestà (Italian: "in majesty"), a polyptych altarpiece was painted by one of the greatest Italian painters of the Middle Ages, Duccio di Buoninsegna (1255–1318). Awarded the commission for the Maestà in 1308, he completed it in 1311. The altarpiece is a vast, horizontal style, two-sided wooden screen, originally measuring ±16 feet wide; it was designed for the high altar of Italy’s Siena Cathedral. Painted using egg-tempera on wood, the Maestà was dismantled in the late 18th century when parts of it were sold. The polyptych’s main front panel is in the Siena Cathedral’s museum.

Christ Mocked  “The above painted panel (scene 11) is one of the 26 narrative scenes from the Stories of the Passion on the reverse side of the Maestà; it’s situated in the bottom row, on the right side of the main section, below the scene of Jesus before Annas.”^[1] This represents the most comprehensive Passion cycle to have survived. See the Maestà’s entire back panel (verso); scenes 9 and 10 can be seen on the two previous slides. [To see many more of Duccio’s Maestà creations that feature Peter, open Warren Camp’s Albums #2, 4, 8, 9, 13, 14, and 15.]

“Those who had arrested Jesus took him to Caiaphas the high priest, where the teachers of the law and the elders had assembled. But Peter followed him at a distance, right up to the courtyard of the high priest” (Matthew 26:57–58). Outside the high priest’s chamber, the haloed Peter raises both hands as he denied the maidservant’s first of two charges: “You also were with Jesus of Galilee” (v. 69). Atop the entrance arch, Duccio painted a crowing rooster above Peter, thereby alluding to his second and third denials that he knew or was affiliated with the Christ.

… Height: 18.1 in. (46 cm), width: 21.3 in. (54 cm)
… Photo source, license, attribution, museum details, and image enlargement: Web Gallery of Art; Museo dell’Opera del Duomo, Siena, Italy
… The artist’s short biography; his other works of art

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[ James Tissot (French, 1836–1902): “Third Denial of Peter; Jesus’ Look of Reproach (Le troisième reniement de Saint Pierre. Le regard de reproche de Jésus),” 1886–1894. Brooklyn Museum, purchased by public subscription, 00.159.249 (Photo: Brooklyn Museum, 00.159.249_PS1.jpg); see Tissot’s “Life of Christ” collection of 124 watercolors selected from a set of 350 that depict detailed New Testament scenes.]

Jacques-Joseph Tissot was “born in 1836, in Nantes, a seaport on the French coast. In 1856 Tissot went to Paris to train as a painter where he anglicized his Christian name to James to draw attention to himself. He experienced a profound religious experience and became increasingly devout.”^[1]

Third Denial of Peter… Jesus’ Look of Reproach  “When warned by Jesus that he’d deny him three times before the cock crows, Peter vehemently objected, asserting his fidelity and pledging to die alongside Jesus. However, Jesus’ prophecy was realized. Peter made his first denial to a maidservant who pointed an accusatory finger at him, saying, “You also were with that Nazarene, Jesus” (Mark 14:67). In his second denial, Peter again rejected his association with Jesus when the maidservant again made that charge. After Peter’s third denial, a cock crowed as prophesied.

“Betrayed by his disciple, as he’d foretold, Jesus in the above image looks in Peter’s direction with sadness, while being escorted away by a jeering crowd. Peter hides from view behind a thick stone archway; his arm covers his face.”^[2] All three of Tissot’s “Denial of Peter” paintings appear on this album page.

… Height: 9 3/16 in. (23.3 cm), width: 7 13/16 in. (19.8 cm)
… Photo source, license, attribution, museum details, and image enlargement: Brooklyn Museum
… The artist’s short biography; his other works of art

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Although John Chapman was one of the most gifted stipple engravers of the late-eighteenth century, little is known of his life. It’s believed that he was born to a poor family and became self-taught during his career. He worked closely with London printseller, Thomas Macklin, on his Shakespeare series and the Macklin Bible, which is an enormous physical specimen of book art, comprising seven complete volumes: 2 feet tall, weighing more than 130 pounds. Only 150 Macklin Bibles were printed. For the culmination of British copper-plate engraving, the Bible’s contributors were painters as well as engravers.

An enormous production of Scripture printed in English, the Macklin Bible (see its photos) has large, bold type on high-quality Whatman paper. In each Bible are a collection of engravings by some of the most celebrated artists of the time, including Chapman, after Pellegrini. In 1789, Macklin announced his plan to produce a lavishly illustrated, luxuriously produced folio Bible; he spent the next eleven years turning his dream into a reality.

Peter Denying Christ is an etched illustration from the Macklin’s Bible Prints portfolio. The footer states that it was created by John Chapman (active 1792–1823) after Dominco Pellegrini (1759–1840). The footer also includes the Bible reference, Matthew 26:71–72, which reads: “Then he went out to the gateway, where another servant girl saw him and said to the people there, ‘This fellow was with Jesus of Nazareth.’ He denied it again, with an oath: ‘I don’t know the man!’”

… Artwork height: 12 1/16 in. (30.7 cm), width: 9 15/16 in. (25.3 cm)
… Photo source, license [CC BY-SA 4.0], attribution, museum details, and image enlargement: Vanderbilt University, Divinity Library
… The artist’s biography could not be found; see his other works of art. (Click “Related Objects” when the page opens.)

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Denial of Peter is an oil-on-canvas painting by “Karel Dujardin (1626–1678), a Dutch Golden Age painter who included a few religious subjects.”^[1] He is best known as a painter, draughtsman, and etcher of Italianate landscapes during Holland’s Golden Age.

Although it’s not evident which of Peter’s three distinct denials the painter is depicting herein, we see a servant girl raising her hand and finger toward Peter in an accusing manner, saying, “You also were with Jesus of Galilee” (Matthew 26:69b). But instead of defending the Lord, “he denied it before them all. ‘I don’t know what you’re talking about’” (v. 70). When Peter left and went out to the gateway, “another servant girl saw him and said to the people there, ‘This fellow was with Jesus of Nazareth.’ He denied it again, with an oath: ‘I don’t know the man!’” (vv. 71–72).

Dujardin made special emphasis with regard to the looks, stares, and scrutiny that all four standing characters continually exchange with one another. Each looks earnestly at another with a dramatic intent and gesture.

Because the denial accounts differ in all four gospels, it’s helpful to compare them. Peter’s three denials appear in the following passages: Matthew 26:69–75; Mark 14:66–72; Luke 22:54–62; and John 18:15–18, 25–27.

… Height: 47 in. (119.4 cm), width: 41 in. (104.1 cm)
… Photo source, license, attribution, and enlargement: Karel Dujardin, public domain, via Wikimedia Commons; Norton Simon Museum
… The artist’s short biography; his other works of art

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No biographical account was found for Bartolommeo Bartoccini (1816–c. 1882). However, Wellcome Trust, a global charitable foundation based in the United Kingdom, which owns this artwork, reports that it was sculpted after a Johann Friedrich Overbeck (1789–1869) artwork. Although the footer of this public domain engraving states Peter’s Triple Negation (Trina Negatio Petri), Wellcome Trust gives it a compound title: “Christ stands before the high priest; Peter denies knowledge of Christ.” It’s year of creation can be seen on the stair riser beneath the maidservant’s left foot.

This engraving highlights two aspects of Jesus’ Passion occurring at the same time: The brighter upper section has Jesus (right-center, wearing a halo) being held by soldiers and accused by elders surrounding High Priest Caiaphas who sits on a throne. At the fire below, Peter warms his hands while sitting on a wooden stool; the maidservant points to him as she declares that she had seen him with Jesus the Nazarene. The description on the Wellcome Collection website reads in part: “A cockerel [young rooster] rests on the left-hand pillar [column], the sign of Peter’s betrayal.”

Because the denial accounts differ in all four gospels, it’s helpful to compare them. Peter’s three denials appear in the following passages: Matthew 26:69–75; Mark 14:66–72; Luke 22:54–62; and John 18:15–18, 25–27.

… Height: 9 7/8 in. (25.1 cm), width: 10 2/3 in. (26.9 cm)
… Photo source, license, attribution, museum details, and image enlargement: Wellcome Trust, public domain, via Wikimedia Commons
… The artist’s biography could not be found; see his other works of art

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Adam de Coster (c. 1586–1643) “was a Flemish painter. A prominent member of the Antwerp Caravaggisti, these Caravaggisti were part of an international movement of European artists who interpreted the work of Caravaggio and his followers in a personal manner. De Coster was not in the habit of signing or dating his works; as a result, many of his works were attributed to other Caravaggisti. His oeuvre is mainly composed of genre paintings with half-length figures and dramatic light effects. He preferred stark chiaroscuro and returned time and again to the motif of half-length figures illuminated by candlelight. Various versions of his Denial of Saint Peter exist.”^[1] See other versions of his on the next four slides.

This Flemish painter had established himself in Antwerp as a renowned painter of nocturnal scenes. He frequently used half-masked flame imagery in his paintings, as seen in this painting, which is a variation on the single candlelight introduced by van Honthorst and used successfully among many Caravaggio followers. De Coster’s subjects, similar to Caravaggio’s, include card sharps, fortune tellers, and actors in the denial of Peter.

In this Denial of Saint Peter version attributed to De Coster, Peter (center) stands, holding his right hand on his chest as his left hand is grasped by a soldier. While holding a lit candle, a young maidservant has just told Peter, “You also were with Jesus of Galilee” But he denied it, saying, “I don’t know what you’re talking about” (Matthew 26:69–70). Peter is dramatically denying to her that he knows Christ.

… Height: 43 3/4 in. (111 cm), width: 43 3/4 in. (111 cm)
… Photo source, license, attribution, museum details, and image enlargement: Adam de Coster, public domain, via Wikimedia Commons
… The artist’s short biography; see his other works of art

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This Adam de Coster rendition of Denial of Saint Peter was painted similar to the oil-on-canvas painting shown on the previous slide: a nocturnal setting with dramatic light effects brought about by a single candle as its light source. A Flemish painter, De Coster was a prominent member of the Antwerp Caravaggisti. His oeuvre is mainly composed of genre paintings with half-length figures and dramatic light effects. He preferred stark chiaroscuro and returned time and again to the motif of half-length figures illuminated by candlelight. Various versions of his Denial of Saint Peter exist.”^[1] This is the second of five consecutive Denial of Peter painting slides in this “Peter Masterpieces” photo album. It depicts Peter’s first or second denial.

All four gospel accounts of Peter’s three denials differ slightly: Matthew 26:69–75; Mark 14:66–72; Luke 22:54–62; and John 18:15–18, 25–27.

Note: In June 2008, Sotheby's in New York City auctioned this painting. It’s undisclosed hammer price was estimated to be between $50,000 to $70,000. The lot’s essay reads in part: “This rediscovered Denial of Saint Peter is a significant addition to the corpus of Adam de Coster, one of the more individual painters of the ‘candlelight tradition.’”^[2]

… Height: 47 in. (119.4 cm), width: 40 in. (101.6 cm)
… Photo source, license, attribution, museum details, and image enlargement: Adam de Coster, public domain, via Wikimedia Commons
… The artist’s short biography; see his other works of art

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Adam de Coster “was a Flemish painter. A prominent member of the Antwerp Caravaggisti, these Caravaggisti were part of an international movement of European artists who interpreted the work of Caravaggio and his followers in a personal manner. De Coster was not in the habit of signing or dating his works; as a result, many of his works were attributed to other Caravaggisti. His oeuvre is mainly composed of genre paintings with half-length figures and dramatic light effects. He preferred stark chiaroscuro and returned time and again to the motif of half-length figures illuminated by candlelight. Various versions of his Denial of Saint Peter exist.”^[1] Titled Third Denial of Saint Peter, this is the third of five consecutive Denial of Peter painting slides.

De Coster had established himself in Antwerp as a renowned painter of nocturnal scenes. He frequently used half-masked flame imagery in his paintings, as seen in this painting, which is a variation on the single candlelight that was pioneered by Van Honthorst and used successfully among many Caravaggio followers. De Coster’s subjects are similar to Caravaggio’s: card sharps, fortune tellers, and actors in Peter’s denial. Herein, Peter (far-left) stands as a high-priest’s servant confronts Peter who denies that he knows Christ, dramatically making his third and final denial.

All four gospels describe Peter’s three denials of his relationship with Jesus: Matthew 26:69–75; Mark 14:66–72; Luke 22:54–62; and John 18:15–18, 25–27.

… Height: 35.1 in. (84.2 cm), width: 27.2 in. (69.2 cm)
… Photo source, license, attribution, museum details, and image enlargement: Adam de Coster, public domain, via Wikimedia Commons
… The artist’s short biography; see his other works of art

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A prominent member of the Antwerp Caravaggisti, Adam de Coster “was a Flemish painter who wasn’t in the habit of signing or dating his works; as a result, many of his works were attributed to other Caravaggisti. His oeuvre is mainly composed of genre paintings with half-length figures and dramatic light effects. He preferred stark chiaroscuro and returned time and again to the motif of half-length figures illuminated by candlelight. Various versions of his Denial of Saint Peter exist.”^[1] This Denial of Saint Peter version is the fourth in five consecutive slides here in Album 15 of “Peter Masterpieces.”

Peter (far-left) stands as soldiers who play a table game eavesdrop on his conversation with a maid. She said to him, “You also were with that Nazarene, Jesus.” In response, he said, “I don’t know or understand what you’re talking about” (Mark 14:67–68). He denied to her that he knew Christ, making his first of three dramatic denials, according to gospel-writer Mark.” Peter knew and understood, but he lacked the courage to stand up to the maidservant and declare openly that he was a disciple of Jesus. He went down to defeat before the verbal onslaught of a servant girl. He who’d boasted that he’d go with Christ to prison and to death, that he’d be true to Him even if all others failed him, and who’d drawn a sword in his defense at Gethsemane, now denied that he’d ever heard of him.

You can see all three of Peter’s denials of knowing Jesus here: Matthew 26:69–75; Mark 14:66–72; Luke 22:54–62; and John 18:15–18, 25–27.

… Height: 42.9 in. (109 cm), width: 51.8 in. (131.5 cm)
… Photo source, license, attribution, museum details, and image enlargement: Adam de Coster, public domain, via Wikimedia Commons
… The artist’s short biography; see his other works of art

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Adam de Coster “a Flemish painter, was a prominent member of the Antwerp Caravaggisti who interpreted the work of Caravaggio and his followers in a personal manner. De Coster seldom signed or dated his works causing many to have been attributed to other Caravaggisti. He preferred stark chiaroscuro and returned time and again to the motif of half-length figures illuminated by candlelight. His oeuvre is mainly composed of genre paintings with half-length figures and dramatic light effects. Various versions of his Denial of Saint Peter exist [see the previous four slides].”^[1]

Peter’s three denials of his relationship with Jesus are found here: Matthew 26:69–75; Mark 14:66–72; Luke 22:54–62; and John 18:15–18, 25–27.

Note: In December 2014, Christie’s in London auctioned this painting. It’s hammer price was GBP 194,500 ($237,212 today). The lot’s essay reads in part: “Adam de Coster had established himself in Antwerp as a renowned painter of nocturnal scenes. De Coster frequently used the trope of the half-masked flame in his compositions, as seen here, a variation on the single candlelight that was pioneered by Van Honthorst and found such success amongst northern followers of Caravaggio. Herein, Saint Peter [right-center] stands as the soldiers eavesdrop on his conversation with a maid, as he denies knowing Christ.”^[2]

… Height: 42 1/4 in. (107.3 cm), width: 60 1/3 in. (153.3 cm)
… Photo source, license, attribution, museum details, and image enlargement: Adam de Coster, public domain, via Wikimedia Commons
… The artist’s short biography; see his other works of art

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Nicolas Tournier “was a French Baroque painter. He followed the profession of his father, André Tournier, a Protestant painter from Besançon. He painted both secular and religious subjects.”^[1]

“This is one of the most complex compositions by Nicholas Tournier, a French follower of Caravaggio. To the right of the table, Apostle Peter denies Christ, while on the left and remote from the scene, four soldiers play dice [for which there is no biblical account]. Tournier worked in Rome until 1626 when he returned to France where he died in 1639.”^[2]

Herein, a servant girl on duty (far-right) raises her right hand and finger as she accuses Peter directly: “You also were with Jesus of Galilee” (Matthew 26:69b). But instead of defending the Lord, Peter, while looking directly at her, “denied it before them all. ‘I don’t know what you’re talking about,’ he said” (v. 70). It’s not clear which of the three denials this painting depicts.

Peter’s three denials differ in the four gospel accounts: Matthew 26:69–75; Mark 14:66–72; Luke 22:54–62; and John 18:15–18, 25–27.

… Height: 67 3/4 in. (172 cm), width: 99 1/4 in. (252 cm)
… Photo source, license, attribution, museum details, and image enlargement: Museo Nacional del Prado
… The artist’s biography could not be found; see his other works of art

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Around 1623, this Denial of St Peter rendition was painted by Gerard Seghers (1591–1651). It’s at the North Carolina Museum of Art, Raleigh. [A like-kind depiction of his appears on slide 23.] After his return to Antwerp from Italy, Seghers became celebrated for his monumental half-height genre scenes and his large religious pictures, mostly done in landscape format. These paintings, including his two Denial of St Peter renditions, contain scenes with numerous characters depicted with lively poses and facial expressions. Note: Although Seghers and other artists include card games, dice rolling competition, and armed soldiers in these Denial of St Peter artworks, there’s no biblical backup for any of those three dramatic elements.

Early works of Seghers owe an obvious debt to Gerrit van Honthorst’s style [highlighted on slide 22]. Comparing Dutch and Italian painters taking up this theme, in Seghers’s painting (above), the emphasis shifts towards two distinct sources of candlelight. The face of the maidservant who identifies Peter as one of Christ’s followers is sharply illuminated by the candle she holds; its flame is hidden by her outstretched arm, enhancing the atmospheric effect of both glowing lights. Peter’s eyes and hand placement are very revealing. It’s not clear which of the three denials this painting depicts.

This 2-minute video highlights three “Peter’s Denial” masterpieces by Caravaggio, Rembrandt, and Seghers.

Note: In April 1997, Christie’s in London auctioned this painting. It’s hammer price was GBP 18,400 ($22,428 today).”^[1]

… Height: 61 1/3 in. (156 cm), width: 89 1/3 in. (227 cm)
… Photo source, license, attribution, museum details, and image enlargement: Web Gallery of Art
… The artist’s short biography; see his other works of art

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Nicolaas Verkolje (1673–1746), was a Dutch painter, the son of Jan Verkolje and the only one of five children to carry on his art.”^[1]

In context, Peter was one of twelve disciples closely associated with Jesus. His denials were made in the face of accusations that he was “with Jesus,” suggesting a discipleship commitment. Matthew’s gospel reveals that Peter denied Jesus “in front of them all” (Matt. 26:70), thus making a public witness.

This Denial of Saint Peter painting depicts Apostle Peter’s moment of spiritual crisis when he denies being a follower of Jesus. Distinguished from the soldiers by his old-fashioned garment, he raises a hand in a gesture of refutation, fulfilling Jesus’ prediction that he’d deny his Lord Jesus three times. Verkolje used dramatic light and shade to instill the scene with emotional passion and poignancy. The viewer attentively looks at the facial expressions of Peter (center) and the maidservant who has put her hand on his shoulder, prior to stating to those nearby, “This fellow was with Jesus of Nazareth.” Realizing the predicament he was now facing, “He denied it again, with an oath: “I don’t know the man!” (Matthew 26:71–72). This painting depicts Peter’s second or third denial.

Peter’s three denial accounts are revealed in all four gospels. But because they each differ to some degree, it would be helpful to compare them by reading the following passages: Matthew 26:69–75; Mark 14:66–72; Luke 22:54–62; and John 18:15–18, 25–27.

… Height: 23 2/3 in. (60 cm), width: 31 1/4 in. (79.5 cm)
… Photo source, license, attribution, museum details, and image enlargement: Nikolaas Verkolje, public domain, via Wikimedia Commons
… The artist’s short biography; his other works of art

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[ James Tissot (French, 1836–1902): “The Second Denial of Saint Peter (Deuxième reniement de Saint Pierre),” 1886–1894. Brooklyn Museum, purchased by public subscription, 00.159.246 (Photo: Brooklyn Museum, 00.159.246_PS2.jpg); see Tissot’s “Life of Christ” collection of 124 watercolors selected from a set of 350 that depict detailed New Testament scenes.]

Jacques-Joseph Tissot was “born in 1836, in Nantes, a seaport on the French coast. In 1856 Tissot went to Paris to train as a painter where he anglicized his Christian name to James to draw attention to himself. He experienced a profound religious experience and became increasingly devout.”^[1]

Second Denial of Saint Peter  “When warned by Jesus that he’d deny him three times before the cock crows, Peter vehemently objected, asserting his fidelity and pledging to die alongside Jesus. However, Jesus’ prophecy was realized. Peter made his first denial to a maidservant who pointed an accusatory finger at him, saying, “You also were with that Nazarene, Jesus” (Mark 14:67). In his second denial, Peter again rejected his association with Jesus when the maidservant again made that charge. At Peter’s third denial, a cock crowed as prophesied.”^[2]

Here, in Tissot’s second denial scene painting, Peter had been approached by a maidservant, amid a crowd of people in the courtyard of the high priest. They asked him, “You are not also one of his disciples, are you?” He denied it and said, “I am not” (John 18:25).

Note: All three of Tissot’s “Denial of Peter” watercolor paintings appear on this album page.

… Height: 8 7/16 in. (21.4 cm), width: 13 7/8 in. (35.2 cm)
… Photo source, license, attribution, museum details, and image enlargement: Brooklyn Museum
… The artist’s short biography; his other works of art

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Theodoor Rombouts (1597–1637) was a Flemish painter who became a leading member of the Dutch Caravaggisti (Dutch followers of Caravaggio). You can see Caravaggio’s 1610 “The Denial of Saint Peter” oil painting on slide 26.

The Denial of Saint Peter (or Peter’s Denial) refers to three acts of denial of Jesus by Apostle Peter, as described in all four gospels of the New Testament: Matthew 26:69–75; Mark 14:66–72; Luke 22:54–62; and John 18:15–18, 25–27.

⁶⁹When the servant girl saw him there, she said again to those standing around, “This fellow is one of them.” ⁷⁰Again he denied it.

After a little while, those standing near said to Peter, “Surely you are one of them, for you are a Galilean.”

⁷¹He began to call down curses, and he swore to them, “I don’t know this man you’re talking about.”

⁷²Immediately the rooster crowed the second time. Then Peter remembered the word Jesus had spoken to him: “Before the rooster crows twice you will disown me three times.” And he broke down and wept. — Mark 14:69–72

“The Caravaggesque influence on Rombouts was strongest in the first years following his return from Italy. Inspired by Rubens (1577–1640) and Anthony van Dyck (1599–1641), his palette paled. The exuberant colors and strong chiaroscuro seen here indicate this picture was painted probably around 1630.”^[1]

… Height: 37 in. (94 cm), width: 10 ft., 1/3 in. (306 cm)
… Photo source, license, attribution, museum details, and image enlargement: via Web Gallery of Art
… The artist’s biography; see his other works of art

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This Denial of St Peter was painted by Gerrit (Gerard) van Honthorst when the artist was in his twenties. Known for his nighttime candlelit subjects, he was a Dutch Golden Age painter from Utrecht. “While working in Italy, the Dutch artist earned the nickname Gerard of the Night for his dramatically lit night scenes. Like the Italian artist Caravaggio [see slide 26], whom he admired, Honthorst constructed psychologically intense paintings through the use of strong contrasts of light and shadow, close-ups of large working-class figures, and expressive hand gestures.”^[1]

“As compared with Italian painters taking up the same theme, in Honthorst’s painting (above) the emphasis shifts towards the dramatic potential of artificial light from two sources. The face of the maidservant who identifies Peter as one of Christ’s followers is sharply illuminated by her candle.”^[2] We see mid-body figures whose calm gestures and expressions are exalted by clever candlelit lighting. See another of his Denial of St Peter paintings on the slide 25.

This painting’s impenetrable blackish-brown darkness illustrates a scene from the Bible’s four gospels. Those Scriptures tell us how Peter (left) was accused by a young maidservant (next to him, wearing a yellow cloak) of knowing Jesus. Feeling fearful he denied any knowledge of Jesus. The artist has given Peter, an old man bearded with a white head of hair, a wrinkled brow. He holds his right hand up in a gesture of innocence while his left hand rests over his heart as if to take an oath. The servant girl leans towards Peter, pointing an accusatory finger at him, which directs our eyes to the apostle’s dramatically lit face whose eyebrows are raised in distress. As predicted by Christ, Peter would deny knowing his Lord three times, after which he repented.

… Height: 59 in. (150 cm), width: 77 1/2 in. (197 cm)
… Photo source, license, attribution, museum details, and image enlargement: Gerard van Honthorst, public domain, via Wikimedia Commons
… The artist’s short biography; his other works of art

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This Denial of St Peter rendition was painted in the 1620s by Gerard Seghers (1591–1651). It’s at the Hermitage Museum in St Petersburg, Russia. [A like-kind depiction of his appears on slide 18.] “After his return to Antwerp from Italy, Seghers became celebrated for his monumental half-height genre scenes and his large religious and allegoric pictures, mostly done in landscape format. These paintings, including his two Denial of St Peter renditions, contain scenes with numerous characters depicted with lively poses and facial expressions, grouped compactly together against an undefined background. The early works of Seghers owe an obvious debt to Gerrit van Honthorst’s style (shown on slides 22 and 25 of this album).”^[1]

Herein, a servant girl on duty (left) raises her right hand as she accuses Peter directly: “You also were with Jesus of Galilee” (Matthew 26:69b). But instead of defending the Lord, Peter, while standing next to her with both of his hands pressed onto his chest and his eyes fixed on hers, “denied it before them all. ‘I don’t know what you’re talking about,’ he said” (v. 70). The faces of all four characters in Peter’s first denial episode are visible only as a result of Segher’s rendering of a partially concealed candle flame that the servant girl covers with her raised right hand; fear and qualms of conscience flicker over each person’s face.

Because the denial accounts differ in all four gospels, it’s helpful to compare them. Peter’s three denials appear herein: Matthew 26:69–75; Mark 14:66–72; Luke 22:54–62; and John 18:15–18, 25–27. Note: This 2-minute video highlights three “Peter’s Denial” masterpieces by Caravaggio, Rembrandt, and Seghers.

… Height: 48 1/3 in. (123 cm), width: 63 1/4 in. (161 cm)
… Photo source, license, attribution, museum details, and image enlargement: Gerard Seghers, public domain, via Wikimedia Commons
… The artist’s short biography; see his other works of art

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Hendrick ter Brugghen (or Terbrugghen; 1588–1629) was a Dutch painter who became a leading member of the Dutch Caravaggisti (Dutch followers of Caravaggio). You can see Caravaggio’s 1610 “The Denial of Saint Peter” oil painting on slide 26.

Denial of Saint Peter depicts Saint Peter’s denial of Christ, as recounted in all four gospels. It’s thought to have been painted after 1625. The painting depicts a scene from the Denial of Peter as specifically recounted in Luke 22:54–57.

⁵⁴Then seizing him, they led him away and took him into the house of the high priest. Peter followed at a distance. ⁵⁵And when some there had kindled a fire in the middle of the courtyard and had sat down together, Peter sat down with them. ⁵⁶A servant girl saw him seated there in the firelight. She looked closely at him and said, “This man was with him.”

⁵⁷But he denied it. “Woman, I don’t know him,” he said.

Terbrugghen presents two soldiers warming themselves near a fire; the one on the right is asleep, the other awakens when a servant girl points an accusatory finger at Saint Peter, sitting behind him. In a separate scene (far right), soldiers take Christ away. “Strong contrast of light and shadow and emotional urgency, popularized by Caravaggio, can be seen in the dancing fire sparks that illuminate the servant’s damnatory finger and wrap the fearful saint in shadow.”^[1]

… Height: 51 5/8 in. (132.3 cm), width: 69 5/8 in. (178 cm)
… Photo source, license, attribution, and image enlargement: via Art Institute Chicago; Charles H. and Mary F. S. Worcester Collection
… The artist’s biography; see his other works of art

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This Denial of St Peter was painted by Gerrit (Gerard) van Honthorst around 1623. Known for his nighttime candlelit subjects, he was a Dutch Golden Age painter from Utrecht. “While working in Italy, the Dutch artist earned the nickname Gerard of the Night for his dramatically lit night scenes. Like the Italian artist Caravaggio [see the next slide], whom he admired, Honthorst constructed psychologically intense paintings through the use of strong contrasts of light and shadow, close-ups of large working-class figures, and expressive hand gestures. This painting illustrates a Bible scene in which a young maidservant (center) accuses the apostle Peter, wearing a yellow cloak, of knowing Jesus. Fearing for his own safety, Peter denies that acquaintance.”^[1]

“As compared with Italian painters taking up the same theme, in Honthorst’s painting (above), the emphasis shifts towards the dramatic potential of artificial light. The face of the maidservant who identifies Peter as one of Christ’s followers is sharply illuminated by the candle she holds. Its flame is hidden by the outstretched arm of another accuser, creating a complex pattern of superimposed bright and dark areas while enhancing the atmospheric effect of the glowing light.”^[2] See another Honthorst Denial of Peter painting on slide 22.

All four gospels describe Peter’s three denials of his relationship with Jesus. The apostle’s adversaries evolved from a maid, to a maid with a bystander, to a large crowd. His denial makes its way from a plea of ignorance, to an outright denial accompanied by an oath, finally to cursing and swearing, which served to declare an outright renunciation that he ever knew Jesus.

… Height: 43 1/2 in. (110.49 cm), width: 57 in. (144.78 cm)
… Photo source, license, attribution, museum details, and image enlargement: Gerard van Honthorst, public domain, via Wikimedia Commons
… The artist’s short biography; his other works of art

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Caravaggio (Michelangelo Merisi, Italian, 1571–1610) was one of the most revolutionary painters of Western Art. This is his Denial of Peter painting, representing the moment when Peter denies any knowledge of Christ and of being a follower of Jesus. The scene is very tightly cropped; you see the three figures very close up in something of a staged theatrical effect. The lighting is very important in this picture. Peter, for example, is almost in full light; there is a spotlight on him and his hands. The soldier on the left, however, has his face in shadow. And the maidservant in the middle is in half-light and half-shadow. Both figures point directly at Peter who appears to be repenting. [Warren Camp’s Album 16 highlights “Repentant Peter.”]

The Denial of Saint Peter refers to three acts of Apostle Peter’s denial of knowing Jesus while in the courtyard of the high priest, as described in all four gospels. After his third denial, he heard the rooster crow and recalled Jesus’ prediction. Peter then began to weep bitterly, leading to his repentance.

“Caravaggio’s late works depend for their dramatic effect on brightly lit areas standing in contrast to a dark background. This picture, a marvel of narrative concision, was painted in the last months of Caravaggio’s tempestuous life and marks an extreme stage in his revolutionary style. Standing before a fireplace, Peter (right) is accused of being a follower of Jesus. The pointing finger of the soldier, and the two fingers of the woman allude to the three accusation accounts and Peter’s three denials.”^[1]  Note: This 2-minute video highlights three “Peter’s Denial” masterpieces by Caravaggio, Rembrandt, and Seghers.

… Height: 37 in. (94 cm), width: 49 3/8 in. (125.4 cm)
… Photo source, license attribution, and enlargement: The Met; Herman and Lila Shickman gift; Lila Acheson Wallace 1997 gift
… The artist’s short biography; his other works of art

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The Denying of Peter was painted by Jan Miense Molenear (1591–1651), a Baroque Dutch painter from Haarlem, Netherlands. It can be seen at the Museum of Fine Arts, Budapest, Hungary. He cleverly depicted biblical stories in his own time and surroundings, such as the above painting representing a scene from the gospel account of Peter denying his knowledge of Christ, albeit set in a Dutch tavern, of all places, filled with peasants and soldiers.

Molenaer’s rendering surprisingly presents a non-biblical setting for this scriptural account. He created an amiable tavern meeting with drinking, card playing, and discussion. He also represented himself (far-left) as a small person in this work. “It is hardly recognizable that this genre painting depicts a biblical scene. However, this is a dramatic and colorful representation of a theme taken from the gospel. We are made to feel Peter’s alarmed wish to escape and the scornful superiority of the servant-girl behind him. It is as if the figures were characters in a biblical play produced to give the episode the tragicomic casualness of everyday life. The style of the painting approaches so near to the developing tradition of contemporary genre that the religious theme is not immediately apparent.”^[1]

Compare the four gospel accounts of Peter’s three denials: Matthew 26:69–75; Mark 14:66–72; Luke 22:54–62; and John 18:15–18, 25–27.

… Height: 39.2 in. (99.5 cm), width: 53.1 in. (135 cm)
… Photo source, license, attribution, museum details, and image enlargement: Jan Miense Molenaer, public domain, via Wikimedia Commons
… The artist’s short biography; see his other works of art

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Celebrated Danish painter, Carl Heinrich Bloch (1834–1890), was commissioned to paint twenty-three paintings for the King’s Praying Chamber in the newly restored Frederiksborg Castle Chapel. Assigned to illustrate the life of Christ, Bloch worked on this monumental project for nearly fourteen years. That commission changed not only his personal life but also his artistic legacy. Today, some have recognized Carl Bloch as perhaps the greatest artist ever to interpret the life and death of Christ. Contemporary artists, working with this difficult subject, pay tribute to the old master.

“Peter’s Denial”  Viewing more than two hundred masterpiece depictions of each element of the Passion of Christ, Bloch herein presents Peter’s third denial of knowing Jesus. Following his two prior denials that evening, Peter now denies knowing Jesus, just as the cock (center) crowed. Having been betrayed by his disciple — Judas Iscariot — as he’d foretold, Jesus in this image (at the rear) looks directly at Peter with sadness while being escorted away by a jeering crowd. Peter shamefully turns his head and eyes away from his Lord.

Because the denial accounts differ in all four gospels, it’s helpful to compare them. Peter’s three denials appear in the following passages: Matthew 26:69–75; Mark 14:66–72; Luke 22:54–62; and John 18:15–18, 25–27.

… Height: 41 in. (104.14 cm), width: 33 in. (83.82 cm)
… Photo source, license, attribution, museum details, and image enlargement: Carl Bloch, public domain, via Wikimedia Commons
… The artist’s short biography; his other works of art

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Antiveduto Gramatica (or Grammatica) was an Italian painter active mainly in Rome. “His earliest surviving public commission, an old-fashioned configuration depicting Christ the Saviour, was painted for the high altar Santo Stanislau dei Polacchi (the national church of Poland in Rome). Very few works are definitely attributable to him.

“This Denial of Saint Peter painting encompasses all the Caravaggesque qualities that came to define Antiveduto’s dramatic and realist output of work. The sharp light that falls across the maid, the distinct gesturing of the protagonists, and the precise detail with which the fabrics, the faces, and the hands are rendered, are all in the distinctive style of Antiveduto.”^[1]

Gramatica herein depicts Peter’s first or second denial of knowing Christ. Looking at Mark’s gospel account (14:66–70), we see this:

“While Peter was below in the courtyard, one of the servant girls of the high priest came by. When she saw Peter warming himself, she looked closely at him. ‘You also were with that Nazarene, Jesus,” she said. But he denied it. ‘I don’t know or understand what you’re talking about,” he said, and went out into the entryway.

When the servant girl saw him there, she said again to those standing around, ‘This fellow is one of them.’ Again he denied it.

… Height: 38.6 in. (98 cm), width: 53.1 in. (135 cm)
… Photo source, license, attribution, museum details, and image enlargement: Web Gallery of Art; private collection
… The artist’s short biography; his other works of art

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Andries Pauli (or Pauwels or the elder) was a 17th-century Flemish draughtsman, engraver, and etcher, much of his work depicts biblical themes. He studied under Lucas Vorsterman the elder and was highly influenced by the art of Jacques Callot.

This engraving of The Denial of Saint Peter presents only three individuals and one dog. The maidservant holding a bright light source has her other hand on Peter’s shoulder. The armed soldier raises one finger toward Peter to get his attention. Peter appears to point toward the woman while telling her, “Woman, I don’t know him” (Luke 22:57). John’s gospel provides this account of Peter’s second denial: “Meanwhile, Simon Peter was still standing there warming himself. So they asked him, ‘You aren’t one of his disciples too, are you?’ He denied it, saying, ‘I am not’ (John 18:25).

Compare the four differing gospel accounts of Peter’s three denials: Matthew 26:69–75; Mark 14:66–72; Luke 22:54–62; and John 18:15–18, 25–27.

The Latin text on this engraving’s footer reads in English: “You deny the truth, you are guilty, then, why are you obstructing the witnesses? / Anytime, before the two, the cause shall be proved in the market. / And you will not run away, even if you go three times, Peter’s tribunal / Galle stands your decision to settle the case… Gerardus Seghers designer… With privilege… And. di Paullis he made.”

… Plate height: 11 3/16 in. (28.4 cm), width: 9 5/16 in. (23.6 cm)
… Photo source, attribution, and image enlargement: Wellcome Trust, public domain (CC BY 4.0); see page for author, at Wikimedia Commons

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Rembrandt van Rijn (Flemish, 1606–1669) was one of the geniuses of the Dutch Golden Age, indeed in the history of European art. A prolific painter, draftsman, and printmaker, he worked to develop his own Baroque style. His works range from portraits to exceptional scenes from the Bible. Known for his realism and ability to convey emotion, Rembrandt stood out among his contemporaries for painting the ugly as well as the beautiful.

The Denial of Saint Peter, dated 1660, comes from his mature period. This painting, now in Amsterdam’s Rijksmuseum, depicts Peter’s denial, one event in the Passion of Jesus. After the Last Supper, Jesus was arrested and taken to High Priest Caiaphas to stand trial by the Sanhedrin. When Peter followed Jesus, a servant woman recognized him as one of Jesus’ followers. Rembrandt has Peter the disciple (center, in a light robe) gesturing with his left hand his denial of the accusation made by Caiaphas’s maidservant who stands next to him holding a candle. On the left are two armed guards, one of whom is sitting at a table. Background-right, the chained Christ turns toward Peter while being taken by soldiers to Pontius Pilate’s court.”^[1]

Note: Because Rembrandt never traveled to Italy as many of his contemporaries had done, it’s thought that this “Denial” treatment had been derived from a foreign work, such as the engraving by Andries Pauli I [see previous slide]. Watch this four-minute video highlighting forty of Rembrandt’s paintings. And this two-minute video features “Peter’s Denial” masterpieces by Caravaggio, Rembrandt, and Seghers.

… Height: 60.6 in. (154 cm), width: 66.5 in. (169 cm)
… Photo source, license, attribution, museum details, and enlargement: Rijksmuseum Amsterdam; purchased with the support of the Vereniging Rembrandt
… The artist’s short biography; his other works of art

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Benjamin West (1738–1820) “was a British-American artist. Entirely self-taught, he soon gained valuable patronage and toured Europe, eventually settling in London. He impressed King George III and was largely responsible for the launch of the Royal Academy. West also painted religious subjects.”^[1]

In this Saint Peter Denying Christ painting, Peter the apostle (left), looking down with a frown with one hand at his breast, sits next to a servant girl (center) who has just accused him: “You also were with Jesus of Galilee.” But he denied it saying, “I don’t know what you’re talking about” (Matthew 26:69). Christ (right), while looking down, extends his right hand toward Peter, possibly to comfort him. [See this William Sharp engraving (1779) made following West’s oil-on-canvas painting; also see Valentine Green’s mezzotint print (1780) of this West painting.]

The prediction made by Jesus during his Last Supper, that Peter would deny and disown him, can be found in all four gospels: Matthew 26:33–35; Mark 14:29–31; Luke 22:33–34; and John 18:15–27. Luke tells us about Peter’s first denial to a servant girl (22:54–57); his second denial was made to the same young woman (Mark 14:69–70); and the third denial, made emphatically to a group of people, was made by calling down curses (Matt. 26:73–75).

Sneak Preview  The turbulent emotions behind Peter’s subsequent repentance have been collected and highlighted by Warren Camp in his Album 16.

… Leaf height: 48 3/4 in. (123.8 cm), width: 48 3/4 in. (123.9 cm)
… Photo source, license, attribution, museum details, and image enlargement: Benjamin West, public domain, via Wikimedia Commons
… The artist’s short biography; his other works of art

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