Ark of the Covenant

Provenance

Recorded as from Massachusetts. Purchased in 1952 by Edgar William and Bernice Chrysler Garbisch; gift to NGA, 1956.

Ark of the Covenant

Field, Erastus Salisbury

c. 1865/1880

Accession Number

1956.13.3

Medium

oil on canvas

Dimensions

overall: 50.8 x 61.3 cm (20 x 24 1/8 in.) | framed: 63.8 x 74 x 5.7 cm (25 1/8 x 29 1/8 x 2 1/4 in.)

Classification

Painting

Museum

National Gallery of Art

Washington, D.C., United States

Credit Line

Gift of Edgar William and Bernice Chrysler Garbisch

Tags

Painting Impressionist & Modern (1851–1900) Oil Painting Canvas American

Background & Context

Background Story

Erastus Salisbury Field (1805-1900) was an American folk painter whose biblical and historical subjects combine naive draftsmanship with powerful design and vivid color. The Ark of the Covenant depicts the biblical ark as described in the Book of Exodus, with Field's characteristic combination of decorative pattern, bold color, and simplified composition. Field's biblical paintings are among the most visually striking works of 19th-century American art: they ignore the academic conventions of perspective and modeling in favor of a flat, patterned approach that gives the biblical subjects a directness and immediacy reminiscent of medieval manuscript illumination.

Cultural Impact

Field's biblical paintings are a unique phenomenon in 19th-century American art—a body of work that combines the narrative directness of medieval art with the flat, patterned aesthetic of American folk painting. The Ark of the Covenant, with its golden chest, its cherubim, and its priestly attendants, is rendered with the decorative precision of a manuscript illumination rather than the spatial realism of academic painting, creating a sacred image that feels both archaic and modern.

Why It Matters

Ark of the Covenant is Field's folk-art biblical painting at its most striking: the ark rendered with the flat, patterned directness of medieval manuscript illumination rather than the spatial realism of academic painting. The result feels both archaic and modern—a sacred image that ignores the rules of perspective to achieve a more direct and immediate impact.