Crucifixion between Sts. Jerome and Christopher

Last updated
Crucifixion between Sts. Jerome and Christopher
Pinturicchio, crocifissione con san girolamo e san cristoforo.jpg
Artist Pinturicchio
Yearc. 1475
MediumOil on panel
Dimensions59 cm× 40 cm(23 in× 16 in)
LocationBorghese Gallery, Rome

The Crucifixion between Sts. Jerome and Christopher is a painting by the Italian Renaissance master Pinturicchio, painted around 1475 and housed in the Borghese Gallery of Rome, Italy.

It is one of the earliest known works by the Umbrian painter, after some of the panels of the Miracles of St Bernardino (1473).

Description

The work depicts the Crucifixion on a river valley background, whose small details show the influence of Flemish painting. At the sides are a penitent St. Jerome, with the traditional symbols of the tamed lion, the cardinal hat on the ground, and a stone used to hit his chest. On the right is St. Christopher holding the martyrdom palm and looking at the young Jesus on his shoulder.

The latter, in turn, holds an apple and wears a coif, an element which is present in other early Pinturicchio works, such as the Madonna with Blessing Child in the National Gallery of London. The work shares the same preparatory drawing, and perhaps the cartoon, of a work by Fiorenzo di Lorenzo.

Sources

Related Research Articles

<span class="mw-page-title-main">Andrea del Castagno</span> Italian Renaissance painter

Andrea del Castagno or Andrea di Bartolo di Bargilla was an Italian painter from Florence, influenced chiefly by Masaccio and Giotto di Bondone. His works include frescoes in Sant'Apollonia in Florence and the painted equestrian monument of Niccolò da Tolentino (1456) in the Cathedral in Florence. He in turn influenced the Ferrarese school of Cosmè Tura, Francesco del Cossa and Ercole de' Roberti.

<span class="mw-page-title-main">Luca Signorelli</span> Italian Renaissance painter

Luca Signorelli was an Italian Renaissance painter from Cortona in Tuscany, who was noted in particular for his ability as a draftsman and his use of foreshortening. His massive frescos of the Last Judgment (1499–1503) in Orvieto Cathedral are considered his masterpiece.

<span class="mw-page-title-main">Antonello da Messina</span> 15th-century Italian painter

Antonello da Messina, properly Antonello di Giovanni di Antonio, but also called Antonello degli Antoni and Anglicized as Anthony of Messina, was an Italian painter from Messina, active during the Early Italian Renaissance. His work shows strong influences from Early Netherlandish painting, although there is no documentary evidence that he ever travelled beyond Italy. Giorgio Vasari credited him with the introduction of oil painting into Italy, although this is now disputed. Unusually for a southern Italian artist of the Renaissance, his work proved influential on painters in northern Italy, especially in Venice.

<span class="mw-page-title-main">Lorenzo Lotto</span> Italian painter

Lorenzo Lotto was an Italian painter, draughtsman, and illustrator, traditionally placed in the Venetian school, though much of his career was spent in other north Italian cities. He painted mainly altarpieces, religious subjects and portraits. He was active during the High Renaissance and the first half of the Mannerist period, but his work maintained a generally similar High Renaissance style throughout his career, although his nervous and eccentric posings and distortions represented a transitional stage to the Florentine and Roman Mannerists.

<i>Il Sodoma</i> Italian Renaissance painter (1477–1549)

Il Sodoma was the name given to the Italian Renaissance painter Giovanni Antonio Bazzi. Il Sodoma painted in a manner that superimposed the High Renaissance style of early 16th-century Rome onto the traditions of the provincial Sienese school; he spent the bulk of his professional life in Siena, with two periods in Rome.

<span class="mw-page-title-main">Pinturicchio</span> Italian painter (1454–1513)

Pinturicchio, or Pintoricchio, also known as Benetto di Biagio or Sordicchio, was an Italian painter during the Renaissance. He acquired his nickname because of his small stature and he used it to sign some of his artworks that were created during the fifteenth and sixteenth centuries.

<span class="mw-page-title-main">Pietro Perugino</span> Italian Renaissance painter

Pietro Perugino, born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.

<span class="mw-page-title-main">Borgia Apartments</span>

The Borgia Apartments are a suite of rooms in the Apostolic Palace in the Vatican, adapted for personal use by Pope Alexander VI. In the late 15th century, he commissioned the Italian painter Bernardino di Betto (Pinturicchio) and his studio to decorate them with frescoes.

<span class="mw-page-title-main">Michael Pacher</span> Austrian painter and sculptor

Michael Pacher was a painter and sculptor from Tyrol active during the second half of the fifteenth century. He was one of the earliest artists to introduce the principles of Renaissance painting into Germany. Pacher was a comprehensive artist with a broad range of sculpting, painting, and architecture skills producing works of complex wood and stone. He painted structures for altarpieces on a scale unparalleled in North European art.

<span class="mw-page-title-main">Pinacoteca di Brera</span> Art museum in Milan, Italy

The Pinacoteca di Brera is the main public gallery for paintings in Milan, Italy. It contains one of the foremost collections of Italian paintings from the 13th to the 20th century, an outgrowth of the cultural program of the Brera Academy, which shares the site in the Palazzo Brera.

Crucifixion is an ancient method of execution.

<i>Mond Crucifixion</i> Painting by Raphael

The Mond Crucifixion or Gavari Altarpiece is an oil on poplar panel dated to 1502–1503, making it one of the earliest works by Italian Renaissance artist Raphael, perhaps the second after the c.1499-1500 Baronci Altarpiece. It originally comprised four elements, of which three survive, now all separated: a main panel of the Crucified Christ with the Virgin Mary, Saints and Angels which was bequeathed to the National Gallery, London, by Ludwig Mond, and a three-panel predella from which one panel is lost; the two surviving panels are Eusebius of Cremona raising Three Men from the Dead with Saint Jerome's Cloak in the Museu Nacional de Arte Antiga, in Lisbon, and Saint Jerome saving Silvanus and punishing the Heretic Sabinianus in the North Carolina Museum of Art.

The decade of the 1450s in art involved many significant events, especially in sculpture.

<span class="mw-page-title-main">Jacopo da Sellaio</span> Italian painter

Jacopo del Sellaio (1441/42–1493), was an Italian painter of the early Renaissance, active in his native Florence. His real name was Jacopo di Arcangelo. He worked in an eclectic style based on those of Botticelli, Filippino Lippi, and Domenico Ghirlandaio. The nickname Sellaio derives from the profession of his father, a saddle maker.

<span class="mw-page-title-main">Bartolomeo Cavarozzi</span> Italian painter

Bartolomeo Cavarozzi (1587–1625), occasionally referred to as Bartolomeo Crescenzi, was an Italian caravaggisti painter of the Baroque period. Cavarozzi's work begin receiving increased admiration and appreciation from art historians in the last few decades of the 20th century, emerging as one of the more distinct and original followers of Caravaggio. He received training from Giovanni Battista Crescenzi in Rome and later traveled to Spain alongside his master for a few years where he achieved some renown and was significant in spreading "Caravaggism" to Spain before returning to Italy. His surviving works are predominantly Biblical subjects and still-life paintings, although older references note he "was esteemed a good painter especially of portraits".

<i>Madonna and Child with St Jerome</i> Painting by Pinturicchio

The Madonna and Child with St Jerome is a painting by the Italian Renaissance master Pinturicchio, painted in 1481 and housed in the Gemäldegalerie of Berlin, Germany.

Saint Jerome in the Wilderness or Saint Jerome in the Desert is a common subject in art depicting Saint Jerome. In practice the same subject is often given titles such as Saint Jerome in Penitence and Saint Jerome Praying. Well-known versions usually given a "wilderness" or "desert" title include:

<span class="mw-page-title-main">Della Rovere Chapel (Santa Maria del Popolo)</span>

The Della Rovere or Saint Jerome Chapel, otherwise the Chapel of the Nativity is the first side chapel in the south aisle of the Basilica of Santa Maria del Popolo in Rome. It was dedicated to the Virgin and Saint Jerome and decorated with the paintings of Pinturicchio and his pupils. It is one of the best preserved monuments of quattrocento art in Rome.

<span class="mw-page-title-main">Donato de' Bardi</span> Italian painter

Donato Conte de' Bardi was an Italian painter of the Quattrocento period. He was born in Pavia. He is cited as a painter in Genoa in 1426. In 1433, he painted an altarpiece of the Crucifixion with the Magdalen and Saints for the Cathedral. Another Crucifixion with Saints was painted for the Ospedale di San Paolo in Savona. A Maesta was completed after his death by Giovanni Giorgio in 1451. His work shows some Flemish influences. His brother Boniforte was also a painter.

<span class="mw-page-title-main">Pisa Altarpiece</span> Dismembered altarpiece by Masaccio

The Pisa Altarpiece was a large multi-paneled altarpiece produced by Masaccio for the chapel of Saint Julian in the church of Santa Maria del Carmine in Pisa. The chapel was owned by the notary Giuliano di Colino, who commissioned the work on February 19, 1426 for the sum of 80 florins. Payment for the work was recorded on December 26 of that year. The altarpiece was dismantled and dispersed to various collections and museums in the 18th century, but an attempted reconstruction was made possible due to a detailed description of the work by Vasari in 1568.