Antoon van Dyck (1599 – 1641), Christ of the Coin, 1625, Oil on canvas, cm. 142 x 119 cm, Palazzo Rosso, Genoa
At only 26 and still absorbing the influence of the Renaissance, the young Van Dyck created this striking reinterpretation of Titian’s The Tribute Money while in Genoa. Though Van Dyck would not have seen Titian’s original housed in Madrid, he likely studied the composition through a print by Martino Rota (1520–1583) or copies and interpretations by Titian’s followers.
The scene portrays Jesus responding to the Pharisees’ question about paying taxes to Caesar, an attempt to trap him into making a political statement. Seeing their intent, Jesus asks for a coin bearing Caesar’s image and instructs them to ‘Render unto Caesar what is Caesar’s and unto God what is God’s.’ This coin becomes a central symbol, representing earthly authority and the tension between secular and divine power. Van Dyck places it prominently in the composition, underscoring its role in the debate.
The upward-pointing gesture of Jesus, significant in both Titian’s and Van Dyck’s compositions, recalls Leonardo da Vinci’s ‘St. John the Baptist, where St. John points skyward to convey spiritual truths beyond earthly matters. This gesture symbolises the connection between the divine (above) and the earthly (below), reinforcing the idea of dual allegiance to God and civil authority. Scholars believe Titian borrowed this gesture from Leonardo, making it a powerful symbol of Renaissance spirituality that Van Dyck continues to convey.
Van Dyck’s portrayal highlights contrasts between the figures: Christ’s calm, insightful expression contrasts with the tense, inquisitive stances of the Pharisees, echoing Titian’s approach of juxtaposing serenity and agitation. One Pharisee points to the coin in his other hand, while another, wearing spectacles, represents a sceptical observer.
The coin, central to the painting, reinforces the theme of taxation but, more profoundly, points to the core question of authority—what belongs to Caesar versus what belongs to God. The coin thus serves as a tangible link between the earthly realm and Christ’s spiritual directive.
References
Barnes, S.J., De Poorter, N., Millar, O. and Vey, H., 2004. Van Dyck: A Complete Catalogue of the Paintings. New Haven and London: Yale University Press.
Martin, J.R. and Feigenbaum, G. (1979) Van Dyck as a Religious Artist. Princeton, NJ: The Art Museum, Princeton University; Princeton University Press