st jerome in his study iconography

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The Princess Royal; Christie's, 18 July 1924, lot 110, as Quentin Matsys (600 gns. Both creatures are part of Jerome's story in the Golden Legend (c. 1260), which contained fanciful hagiographies of saints. This page was last modified on 30 June 2015, at 17:46. All the monks ran away, except for St. Jerome, who just sat watching the lion. oil on panel St. Jerome in His Study is often considered as part of a group of three Dürer engravings, the other two being the well-known Melencolia I (1514) and Knight, Death and the Devil (1513). 39a, pl. 78, pp. Saint Jerome in His Study 1514 Albrecht Dürer German. Dürer's plain background with a crucifix is replaced by the more elaborate setting - the 'Inside of the House' of the 1807 Fife catalogue - with its window and hourglass and the shelf with its flask, glass, and, below, the situla and rosary hanging from nails. Peter W. Parshall, "Albrecht Dürer's Saint Jerome in his Study: A Philological Reference," The Art Bulletin 53 (September 1971), pp. b/w cat. Jerome (347-420 AD) converted to Christianity sometime between 360-366. A1, as 'Quentin Matsys'. cat., Bowdoin College Museum of Art (Brunswick, Maine, 2017), pp. inscribed 'HOMO BVLLA' ('Man is a Bubble') (upper edge), the bible with a text from Saint Matthew, the sheet below with part of the Lord's Prayer 195, pp. Quintus Metze.' Previously attributed to Quentin Metsys, You can build your own collections and more. London, Guildhall, Examples of the Flemish and Belgian Schools, 1906, no. 'St Jerome in his Study', 1514, 'Knight, Death and the Devil', 1513, and 'Melancholia I', 1514 are generally referred to as Dürer's master engravings. 107, no. cat., Merrell Holberton (London, England, 1999), p. 187; repr. J.O. VI, John Oliver Hand, "Joos van Cleve: The Early and Mature Paintings" (1978), p. 310, no. 364, p. 306, repr. He moves the ink well and quill and introduces the candle and snuffer. Joos van Cleve (1485-1540) SOLD BY ORDER OF THE EXECUTORS, The visually supercharged world of the Japanese artist loved by A-listers and inspired by everything from anime to Edo period woodcuts, A dozen treasures from one of America’s finest Asian art museums are coming to auction at Christie’s in Hong Kong. 40a, whereabouts unknown; an apparently good version recorded with the Norton Gallery, Palm Beach (reproduction in the Witt library); copies, Friedländer, nos. Van Cleve adhered closely to this prototype in the attitude, if not in the detailed characterization, of the saint: his saint is less cragged in feature, and there are numerous differences in the drapery. (Qtd. Harvard Art Museums / Fogg Museum | Bush-Reisinger Museum | Arthur M. Sackler Museum, Signed: dated behind ornamental frieze: 1521. St. Jerome in His Study is a painting by the Italian Renaissance master Antonello da Messina, thought to have been completed c. 1475.It is in the collection of the National Gallery, London.. R. Bruce Livie, Auch Kleine Dinge: Dürer and the Decorative Tradition, exh. as fig. From Infogalactic: the planetary knowledge core, For the painting from the same artist, see. The picture was painted by Antonello during his Venetian sojourn, and was the property of Antonio Pasqualino. no. His numerous Charles Werner Haxthausen, "The Busch-Reisinger Museum, Harvard: the Germanic Tradition", Apollo (May 1978), vol. 44, as 'Quentin Matsys'. 4, repr. Photo © President and Fellows of Harvard College, Joos van Cleve 95, Stephen Perkinson, The Ivory Mirror: The Art of Mortality in Renaissance Europe, exh. Saint Jerome in His Study (German: Der heilige Hieronymus im Gehäus) is an engraving of 1514 by the German artist Albrecht Dürer.Saint Jerome is shown sitting behind his desk, engrossed in work. We are indebted to Dr. Lorne Campbell for information about iconography and the 1994 publication. 387), with numerous alterations in the background, is characterized by Friedländer (no. 84a, Charles Werner Haxthausen, The Busch-Reisinger Museum, Harvard University, Abbeville Press (New York, NY, 1980), pp. St. Jerome is usually only depicted in two ways: in the wilderness or in his cell (also called the study), the two ways that Dürer depicts him. H. Pauwels, Leyden, 1972, pp. to Blaker). as pl. 3, as 'An Old Man's Head, with the Inside of a House; finely painted. 40b, Salzburg, Museum Carolino Augusteum and 40c (untraced); further copies were formerly in the Chillingworth and Pasqualini collections): in that composition the skull and candlestick correspond with the Camrose, Hanover and Princeton pictures, but the candle has guttered to the left as in that at Princeton. He is best known for his translation of most of the Bible into Latin (the translation that became known as the Vulgate) and his commentaries on the Gospels.His list of writings is extensive. Thomas Puttfarken suggests that while the scene is very close to the observer, Dürer did not intend the viewer to feel present: "the intimacy is not ours, but the saint's as he is engrossed in study and meditation" (94). In 1521, while the German artist Albrecht Dürer was in Antwerp, he painted a picture of Saint Jerome in his study surrounded by objects symbolizing transience and death. The qualities of this panel fully explain the popularity of van Cleve's restatement of Dürer's design. By creating your Harvard Art Museums account you agree to our Terms of Use and Privacy Policy. J.O. on cover of both volumes, Ivan Gaskell, "The Image of Vanitas: Efflorescence and Evanescence", exh.

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