Circle of Jacopo Negretti / Palma Il Giovane, Saint Jerome Palma, 1620, Oil on Canvas, Framed

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Description

Venetian School, late 16th-century
Circle of Jacopo Negretti, known as Palma the Younger (Venice 1544–1628)
Saint Jerome Penitent

Oil on … Read more Venetian School, late 16th-century
Circle of Jacopo Negretti, known as Palma the Younger (Venice 1544–1628)
Saint Jerome Penitent

Oil on canvas
85 x 64 cm., Framed 97 x 76 cm.
This splendid painting, which offers a vivid depiction of Saint Jerome Penitent, a Doctor of the Church who lived between the 4th and 5th centuries, is a work of remarkable quality and pictorial refinement, a testament to the mature Venetian Renaissance, painted in the Venetian area around the end of the 16th century.

The multifaceted figure of the Saint—hermit, penitent, cardinal, and refined humanist, who translated the Bible into Latin—enjoyed great popularity between the 15th and 16th centuries, a supreme example of the harmony between classical knowledge and Christian virtue. For this reason, it was a subject dear to a refined and cultured audience, often illustrated in small-scale works intended for private devotion.

The elderly Saint is depicted half-naked, in keeping with the typical iconography of a hermit, while kneeling, striking his chest with a stone as a sign of penance. He is seen with his gaze intent on contemplating the crucifix and the open book, both of his canonical iconographic attributes, references to his prolific work as a biblical scholar and theologian, which made him a forerunner of the Renaissance humanist.

Saint Jerome is depicted in a wild, mountainous landscape, near the cave of Bethlehem where he retreated to follow his vocation as a hermit. In the background, a view of a city opens up, emblematic of the contrast between nature and civilization.

Examining its stylistic characteristics, the composition undoubtedly draws inspiration from the models created by Jacopo Negretti, known as Palma the Younger (Venice 1548-1628), who repeatedly approached the subject in a variety of illustrative ways.

The luminosity that envelops the scene is clearly Venetian in origin: the composition is pervaded by an intense glow that illuminates the figure of the Saint, emphasizing the rather sober color palette, played out in earthy tones.

The painting, whose excellent condition offers optimal reading, demonstrates a very precise and quality brushstroke.

Examination under Wood's lamp reveals no significant restorations, but some scattered retouching on the surface.

The work is accompanied by a legally compliant photographic authenticity certificate. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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