The artist was Piero Della Francesco, the year was around 1450, and interestingly enough, the fresco masterpiece from the Early Renaissance is not in any church, but in the Town Hall of a small Italian village called Borgo San Sepolcro. The work depicts a triumphant, standing, semi-nude Christ resting his left arm on an uplifted knee as his foot rests upon a low sarcophagus while in his right hand he holds a staff with a cross-emblazoned banner streaming stiffly over his shoulder. Arrayed before the tomb are what passes (in the Renaissance vernacular) for Roman guards sleeping, or just awakening to the glorious miracle. And though the work is impressive (largely because it stands so alone in depicting the event), it is probably most regarded by art historians not for its subject matter but for the artist's obsession with order and geometry. The composition boasts an all-to-obvious triangulation anchored at its base by the figures of the soldiers and rising to an apex squarely between Christ's eyes.
Having discussed the one notable exception, the point that arises from all of this is: Why? Why is it artists such as Grunewald, Leonardo, Rubens, Raphael, Rembrandt, Tintoretto, and others, who have contributed nativities, annunciations, crucifixions and all other manner of religious works of similar stature, have NOT been so inspired by Christ's resurrection? Crucifixions are a little more dramatic perhaps. Ascensions are probably a bit more spectacular. But certainly a resurrection is more dramatic than a last supper, a prayer in Gethsemane, or Christ knocking at an unopened door. Moreover, inasmuch as the church has been the biggest source of such art works, one also has to wonder that Della Francesca found himself painting in a town hall, rather than St. Peter's.