
Saint Jerome in the Wilderness
Paolo Veronese·1585–90
Historical Context
Saint Jerome in the Wilderness, produced by the workshop of Paolo Veronese between 1585 and 1590, dates from the final years of the master's life when workshop production was at its height. Veronese died in April 1588, and his sons Carletto (1570-1596) and Gabriele (1568-1631) continued operating the workshop under the Caliari family name, producing paintings that replicated the master's compositions and stylistic conventions for continuing demand. The penitent Saint Jerome — the fourth-century church father who translated the Old Testament into Latin (the Vulgate) and lived as an ascetic in the Syrian desert — was among the most frequently painted solitary devotional subjects in Christian art, combining landscape with a single figure of scholarly austerity. The Art Institute of Chicago, which holds this workshop production alongside canonical Italian masterworks, includes it in the context of its comprehensive representation of Italian art across the full spectrum of quality and attribution.
Technical Analysis
The oil on canvas demonstrates the characteristic Veronese workshop palette of silvery tones and luminous coloring. The landscape setting and the muscular figure of the saint are rendered with the fluid brushwork of the Venetian tradition, though the handling suggests workshop execution rather than the master's personal touch.
Look Closer
- ◆Notice the silvery tones and luminous coloring characteristic of the Veronese workshop palette in this late painting of Saint Jerome.
- ◆Look at the muscular figure of the saint set in a landscape rendered with the fluid brushwork of the Venetian tradition.
- ◆Observe that the handling suggests workshop execution rather than the master's personal touch, reflecting the complex attribution questions of Veronese's late works.
Provenance
Rev. John Sanford, Florence and London, by 1837 [see Sanford catalogue, 1837, p. 19, no. 102.] Sold Christie's, London, March 9, 1839, no. 131, for £23 2s, to G. Yates. Possibly George Byng (1764-1847) or his nephew George Byng (1806-1886), second earl of Strafford of the third creation, Wrotham Park, Barnet (Middlesex) [according to information supplied by M. Knoedler; but unverified.] A.L. Nicholson, London, by 1930 [see letter of 20 February 1930 from Bernard Berenson to Nicholson in curatorial file]. M. Knoedler, New York, acquired December 1944 (stock no. A 2989) and sold to the Art Institute, May 10, 1945.

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