st jerome in his study iconography
92-95, 161-162, repr. VI, John Oliver Hand, "Joos van Cleve: The Early and Mature Paintings" (1978), p. 310, no. The composition is intimate, but the viewer has difficulty locating himself in relation to the picture's space. J.O. '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. In the Camrose and Hanover pictures the Bible is double-columned and in Latin: the Princeton text, of eighteen rather than twenty-four lines, is in Dutch. Charles Werner Haxthausen, "The Busch-Reisinger Museum, Harvard: the Germanic Tradition", Apollo (May 1978), vol. These include two pictures recorded by Friedländer (nos. 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. Peter W. Parshall, "Albrecht Dürer's Saint Jerome in his Study: A Philological Reference," The Art Bulletin 53 (September 1971), pp. The popularity of this composition is attested by numerous copies, the majority of which depend on the present picture rather than that at Hanover. 57, as Joos van Cleve(?). All the monks ran away, except for St. Jerome, who just sat watching the lion. 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. The crucifix, set above an Italianate ornamental frieze, casts a curved shadow on its niche, and next to it, a bird — possibly a finch, symbol of Christ’s Passion — is trapped in a cage. 15, repr. The arrangement of shelf, flask, rosary and situla in this picture is followed in a differing Saint Jerome composition in which the Saint is bare-chested behind a desk with two windows beyond (Friedländer, no. no. The painting was a sensation, prefiguring the genre of memento mori, images that compelled contemplation of mortality. 40a, whereabouts unknown; an apparently good version recorded with the Norton Gallery, Palm Beach (reproduction in the Witt library); copies, Friedländer, nos. (60.7 x 46.7cm.). Hugh Blaker; Christie's, 8 July 1927, lot 107, as Quentin Matsys (700 gns. Kristin A. Mortimer and William G. Klingelhofer, Harvard University Art Museums: A Guide to the Collections, Harvard University Art Museums and Abbeville Press (Cambridge and New York, 1986), no. The painting was a sensation, prefiguring the genre of memento mori, images that compelled contemplation of mortality. This composition is based on Dürer's Saint Jerome painted in 1521 for Ruy Fernández de Almeida, Ambassador of King John III of Portugal, now in the Museu Nacional de Arte Antiga, Lisbon. White collections at Princeton, which is dated 1528: in reproduction at least the latter seems less vigorous than this panel. 23 7/8 x 18 3/8in. Beyond such obvious symbols of death, the image is filled with subtler reminders of the passage of time. Hand, Saint Jerome in his Study by Joos van Cleve, in A Tribute to Robert A. Koch, ed. Joos van Cleve (1485-1540) Art historian Erwin Panofsky comments on the perspective: The position of the sight point, quite far off centre, strengthens the impression of a representation determined not by the objective law of the architecture but by the subjective standpoint of the spectator who is just entering – a representation which owes to precisely this perspective arrangement a large part of its peculiarly 'intimate' effect. 39a, pl. Quintus Metze.' 303-5, http://www.newadvent.org/bible/jon004.htm, http://www.newadvent.org/cathen/08497b.htm, Joachim and Anne Meeting at the Golden Gate, Portrait of the Artist's Mother at the Age of 63, https://infogalactic.com/w/index.php?title=Saint_Jerome_in_His_Study_(Dürer)&oldid=3622615, Pages using infobox artwork with autolinked artist field, Creative Commons Attribution-ShareAlike License, About Infogalactic: the planetary knowledge core. as fig. The main difference between this and the Hanover picture is that in the latter the apple on the window sill is moved to the position of the hourglass, which is in turn transferred to a small niche under the shelf on the right, thus displacing the situla with the aspergillum which hangs from the nail. XVII, no. 4, repr. Saint Jerome in His Study (German: Der heilige Hieronymus im Gehäus) is an engraving of 1514 by the German artist Albrecht Dürer. St. Jerome, ; feast day September 30), biblical translator and monastic leader, traditionally regarded as the most learned of the Latin Fathers. R. Bruce Livie, Auch Kleine Dinge: Dürer and the Decorative Tradition, exh. J.O. cat., Merrell Holberton (London, England, 1999), p. 187; repr. THE PROPERTY OF THE ESTATE OF THE 2nd VISCOUNT CAMROSE, The type became a specialty of local workshops, including that of Joos van Cleve, who is associated with more than a dozen versions of this image. Beside him is a snuffed-out candle. For more information please contact the Division of European and American Art at email@example.com. This stems from a story (obviously) which I shall tell you… One day, St. Jerome was sat in the monastery with the other monks, when a lion came through the doors. 109, Laura Giles, "'Christ before Pilate': A Major Composition Study by Pontormo", Art Institute of Chicago Museum Studies, The Art Institute of Chicago (Chicago, IL, 1991), vol. The vigorous underdrawing in the present picture, not least in the face and beard, and the pentimenti in the design of the saint's cap (in this respect the Hanover picture may correspond more closely with the original line in the present panel) would seem to confirm its autograph status. Previously attributed to Quentin Metsys, You can build your own collections and more. 39b in the Hanover collection at Pattensen, which is of marginally larger dimensions, 'coincide in virtually every detail and clearly bespeak the formal idiom of our master' (as translated in the 1972 edition, in which the attribution of both pictures is, however, qualified). Jerome elected to use Hedera (from the Greek, meaning ivy) over the more common Latin cucurbita from which the related English plant name cucumber is derived, perhaps to avoid confusion while making a more perfect analogy to the typology of Christ "I am the Vine you are the branches". as pl. John Oliver Hand, "Joos van Cleve and the Saint Jerome in the Norton Gallery and School of Art", Norton Gallery Studies, Norton Gallery and School of Art (Palm Beach, FL, 1972), fig. He lived for a time as a hermit, became a priest, served as secretary to Pope Damasus I, and about 389 established a monastery at Bethlehem. A variant in the Johnson collection, Philadelphia (no. Alexander, 1st Duke of Fife (1849-1912), by whom bequeathed to his wife H.R.H. We can reset it for you; enter your email address below to get started. p. 47. On view at The Met Fifth Avenue in Gallery 521. 195, pp. b/w cat. 364, p. 306, repr. The piece of paper tacked to the wall reads “Respice Finem” — consider the end. In 1934 Friedländer illustrated this picture - as in the Fife Collection - with an unqualified attribution to Joos van Cleve, remarking that it, and his no.
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