Callot, Jacques, S. Hieronimus from The Penitent, c. 1632
Jacques Callot, Gravure, S. Hieronimus from The Penitent, c. 1632
|Artiste:||Callot, Jacques (1592 - 1635)|
|Titre:||S. Hieronimus from The Penitent, c. 1632|
|Taille d'image:||2 1/2 in x 1 5/8 in (5.7 cm x 4.1 cm)|
|Taille de feuille:||2 1/2 in x 1 5/8 in (5.7 cm x 4.1 cm)|
|Taille encadrée:||14 3/4 in x 14 in (37.5 cm x 35.6 cm)|
|Signé:||Signed in the plate in the lower left 'Callot fe.' and 'Israel ex.'|
|Condition:||This work is in excellent condition; trimmed along the plate mark.|
One of the great figures of the early Christian Church, Saint Hieronimus (also known as Saint Jerome) kneels before a cross. Though small in size, this work relays a distinct feel for Saint Hieronimus' passion for and dedication to God, exemplifying Callot's talent at capturing a powerful sense of emotion.
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| Captured in incredible detail, Saint Hieronimus (also known as Saint Jerome),
kneels passionately before a monumental cross in a mountainous landscape. His
lion companion dashes off to the left while, in the lower center, we witness
a skull and a book. Saint Hieronimus (Jerome) was often depicted with a skull,
representing the inevitability of death and the vanity of worldly things, and
a book, representing his studious nature. Callot depicts St. Hieronimus in the
wilderness where he lived the life of a hermit. The Saint's dedication to his
faith is apparent in his earnest gaze and striking pose, as he looks to the
cross with absolute faithfulness. Callot creates a three dimensional space in
which St. Hieronimus is placed at the center of the composition as the wilderness
winds off into the background. The cross is also emphasized, sitting atop a
cliff and framed by towering trees.
Created c. 1632, this piece is from the series The Penitent. This work is signed in the plate in the lower left 'Callot fe.' and 'Israel ex.' Also annotated in the plate 'Cum privi | legio Regis.' In the lower right.
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La biographie de Jacques Callot
French engraver and draughtsman. Jacques Callot went to Italy when he was in his teens and, working in Rome and then in Florence at the court of the Grand Duke Cosimc II (1590-1621), he learned to combine the sophisticated techniques and exaggerations of late Mannerism with witty and acute observation into a brilliantly expressive idiom. Returning to France in 1621 he became one of the chief exponents of the bizarre and grotesque which came into vogue in the reign of Louis XIII (1601-43). Most of the remainder of his career was spent in his native Nancy, but he also worked in Paris and the Low Countries. He made a specialty of beggars and deformities, characters from the picaresque novel and the Italian commedia dell'arte. In this respect he comes close to Bellange, also active in Nancy, but Callot's style was more realistic. His last great work, the series of etchings entitled the Grandes Miséres de la Guerre followed the invasion of Lorraine by Car Richelieu in 1633, and is a harrowing depiction the atrocities of war; its themes and imagery were used as a source by Goya. His output was prodigious; more than a thousand Callot etchings and drawings by him are extant, and some of his plates are large, featuring scores of brilliantly arranged figures. Jacques Callot was one of the greatest of all etchers and one of the first major creative artists to work exclusively in the graphic arts.