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st jerome in his study national gallery

One of the Saint’s most widely recognized accomplishments is that he translated the Bible from the original Hebrew into Latin, in version that became known at the Vulgate. Saint Jerome is one of the Doctors of the Church and best known for his translation of the Bible into Latin. However, in this respect it is unlike most 15th- and 16th-century depictions of studies (including Antonello da Messina's 'Saint Jerome in his Study'), which are more often than not so crowded with books, papers and ornaments, that the saint’s possessions take on a life of their own. Type in your search keywords, then submit or select one of the suggestions. Saint Jerome was a popular religious figure during Dürer’s lifetime. The lion refers to the legend in which Jerome pulled a thorn out of a lion’s paw, who in return, became his companion. His hooded cassock is a prominent blue, like those worn by Venetian parish priests in the early 16th century. An inscription on the back of Giorgione’s celebrated ‘Laura’ (Kunsthistorisches Museum, Vienna) calls Catena the ‘collega’ (colleague) of Bellini, but the artistic innovations which Giorgione and Titian introduced to early 16th-century Venice made little measurable impact on him. ), Albrecht Dürer: His Life in Context, exhibition catalogue, Stradel Museum, Germany 2013, pp.260–1. In this print, Saint Jerome sits in the corner of his study with his body hunched over a writing stand.

Read more. According to Wölfflin, ‘The woodcut simply does not compete with the engraving in the rendering of texture. Ravenal and Stevenson suggest that ‘Death and the transience of the earthly existence, symbolized by the hour glass, hold no fear for the saint, whose spiritual contemplation provides him with a foretaste of eternity’ (Ravenal et al 1971, p. 146). Vincenzo Catena (active 1506–31)'Saint Jerome in his Study', probably about 1510Oil on canvas, 75.9 x 98.4 cmNG694. Jerome in his Study’ in Jochen Sander (ed. 198–9; Heinemann 1991, p. 105; Baker and Henry 1995, p. 104; Sander 2004, pp.

He is so at ease that he has removed his slippers (a detail also found in Antonello’s picture). In fact, he is just the sort of painter who might have possessed a study – as the Mantuan court painter Andrea Mantegna and the Florentine Filippino Lippi both did.1 But although his picture of Jerome places the saint among the usual accoutrements of such spaces, there is no surviving documentary evidence of Catena’s own scholarly interests, or clear evidence that he possessed a library. Beside him lies a tranquil lion whose eyes remain open and watchful. Beneath the skull a long extending bench is pushed up against the wall, its surface is covered with books and cushions. Dürer is … Shade, light, radiance, eminences, depressions … Nay, he even depicts what cannot be depicted: fire, rays of light, thunderstorms, sheet lightning … And is it not more wonderful to accomplish without the blandishment of colours what Apelles accomplished [only] with their aid?”. You will be able to seamlessly ‘Favourite’ images and download large images for personal use. See Howard in London and Boston 2005–6, p. 20. So, before starting the iconographical analysis of the painting, I would like to mention Saint Jerome and his importance to the world of Christianity briefly. Exhibition History 1894 Exhibition of Venetian Art, The New Gallery, London, 1894-1895, no. He clutches a pen in his right-hand, notating his thoughts to paper. 1). But these objects are carefully described, and of good quality. And what a mysterious edifice this sanctuary is, full of shadows but with views out onto a bucolic idyll — birds can be seen through the clerestory wheeling in the evening sky; framed in the window to the left a boat glides past on the still waters of a peaceful river. How these strong northern traits came to be so wonderfully employed by an artist who spent most of his life in Sicily is a mystery. In the shadows of the colonnade, there lurks a rather incongruous lion who co-stars with Jerome in many paintings by numerous artists. Feulner writes: ‘As an exegete of the Holy Scriptures and author of number theological treatises, Jerome was respected and revered for his scholarly achievements’ (Feulner 2013, p.260). To the right of the lion’s tail are the initials of the artist, cleverly concealed in a placard that appears to have fallen from the nearest wall. His bent head is haloed, emitting its own source of light. Visit my site specialising in Neo-Impressionism. There is no independent evidence for this and there is some scepticism among scholars, but whatever the truth may be, this picture shows only too well why this notion should have been accepted. December 2016, Dürer made a great impact on European art through his outstanding skills as a draughtsman and printmaker. Dürer shows him in his study writing. The work titled St. Jerome in His Study by Antonello da Messina is a milestone in the history of relations between the Italian and Flemish schools in the 1400s. Books, candlesticks, a wooden Crucifix, a flask and a jar (presumably containing some simple food and drink) are the basics one might expect to find in a scholar’s cell. Often these show the saint during his time in the desert when he took pity on the beast and bravely extracted a thorn from its paw thereby earning the lion’s eternal gratitude.

Saint Jerome in his Study, Antonello da Messina. Antonello is traditionally given credit for the introduction into Italy of painting with oil glazes, a technique perfected by Jan van Eyck, where thin translucent layers of oil paint are painstakingly built up enabling the artist unparalleled scope for the depiction and modulation of detail. The Saint demonstrates his devotion in his service of sacred contemplation and the Knight pledges his faithfulness through the heroic performance in the field of action. 224–37. In the foreground lies a sleeping dog nestled in front of a pair of slippers. 106–7; Russo 1987, pp. The Venetian painter Vincenzo Catena may have been a pupil of Giovanni Bellini; certainly Bellini’s pictorial style was the most significant influence on his own manner. The room is illuminated by mottled sunlight streaming in through the two mullioned windows to the left of the composition. Indeed, this picture is a truly habitable image; it is as though we, the viewer, are already in the painting. Antonello da Messina, St. Jerome in His Study, Oil on wood, 46 x 37 cm, National Gallery, London. In 1511, three years before this Saint Jerome in his Study, Dürer produced a similar work, a woodcut entitled St. Jerome in his Cell (National Gallery of Canada). Architecture in Renaissance Painting online publication, http://www.nationalgallery.org.uk/paintings/research/exhibition-catalogues/building-the-picture/entering-the-picture/catena-saint-jerome. Here we see St Jerome at work in his carrel (a wooden study usually constructed in a cloister), spied through a Late Gothic opening, surrounded by his books and a variety of other beautifully realised objects, many of them replete with symbolism, illuminated by the light flooding past the viewer into the hallowed space. It seems to be part of a visual metaphor for what Saint Jerome did to make the Bible accessible through translation. 169. Antonello is traditionally given credit for the introduction into Italy of painting with oil glazes, a technique perfected by Jan van Eyck, where thin translucent layers of oil paint are painstakingly built up enabling the artist unparalleled scope for the depiction and modulation of detail. This print is one of Dürer’s three Meisterstiche or ‘master engravings’, the other two of which are Knight, Death, and Devil 1513 and Melencolia I 1514. Gaillard Ravenel, Jay Levenson, ‘Catalogue of Prints’ in Charles Talbot (ed.

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