PROVENANCE: Nic. de Bruyn and J. Alensz. Collection, Leiden, 1774; H. ten Kate Collection, Amsterdam, 1801; Julius Weitzner, London, 1972; BJU, 1972.

The artistic heir of Maerten van Heemskerck in Haarlem was Cornelis Cornelisz. Born in Haarlem, Cornelisz. first studied with Pieter Pietersz. He stayed for a short time in Rouen and then in Antwerp before returning to his hometown permanently. In his early career, Cornelisz.'s innovative group portraiture brought him success and subsequent commissions. After becoming friends with fellow Haarlem artists Hendrick Goltzius and Karel van Mander, Cornelisz. joined forces with them to establish an artists' academy. Around 1585 Cornelisz. championed one of the last phases of Mannerism in the north with large compositions full of expressive nudes. This art paved the way for other great Dutch painters such as Abraham Bloemaert and Joachim Wtewael.

Inspired by the art of Goltzius, Cornelisz. introduced a calmer tone into paintings late in his career. Christ Healing the Blind Man shows his assimilation of Italian Renaissance figural forms learned from Goltius as well as his finesse as a colorist. Here Cornelisz. continues to express his penchant for portraiture, the basis of his initial fame. The figure standing at the far right of the painting dressed in green and yellow and looking at the viewer is a portrait of a wealthy Dutch businessman, Jan Govaertsz., who probably commissioned the work. The identity of Govaertsz. can be confirmed through other portraits of him by both van Haarlem and Goltzius.

Christ Healing the Blind Man depicts a moment in Christ's public ministry when the Son of God reached out to touch a beggar's sightless eyes. Here Cornelisz. beautifully pictures Isaiah's prophecy: "Say to them that are of a fearful heart, Be strong, fear not: behold, your God will come . . . . Then the eyes of the blind shall be opened, and the ears of the deaf shall be unstopped. Then shall the lame man leap as an hart, and the tongue of the dumb sing" (Isaiah 35:4-6).