Who painted Saint Helena, Saint Brigitta and Saint Elizabeth?

Saint Helena, Saint Brigitta and Saint Elizabeth was painted by Hans Burgkmair the Elder in 1516.

Where can I see Saint Helena, Saint Brigitta and Saint Elizabeth?

Saint Helena, Saint Brigitta and Saint Elizabeth is held by National Gallery of Art.

What movement is Saint Helena, Saint Brigitta and Saint Elizabeth?

Saint Helena, Saint Brigitta and Saint Elizabeth is associated with Renaissance.

Artwork

Saint Helena, Saint Brigitta and Saint Elizabeth

Hans Burgkmair the Elder , 1516

Saint Helena, Saint Brigitta and Saint Elizabeth is an ink print by the Renaissance artist Hans Burgkmair the Elder. It dates from 1516 and is held in the collection of the National Gallery of Art.

About this work

Overview

Hans Burgkmair the Elder produced this woodcut in 1516, presenting three female saints—Helena, Brigitta and Elizabeth—grouped together in a single composition. Rendered on laid paper, the image combines devotional iconography with narrative detail, inviting viewers to contemplate the virtues each figure embodies.

Subject & Meaning

The central figure, identified as Saint Helena, holds a cross and gazes downward, symbolizing her role in locating the True Cross. To her right, Saint Brigitta appears in armor, leaning on a shield that may reference her protective patronage. Saint Elizabeth stands slightly behind, bearing a banner that names the trio, underscoring their collective sanctity.

Technique & Style

Executed as a woodcut, the design was incised into a single block of wood, allowing for fine linear work and intricate textures. Burgkmair employs delicate hatching to suggest fabric folds and architectural motifs, while miniature scenes are embedded within the clothing and shield, showcasing the artist’s skill in integrating narrative within decorative elements.

History & Provenance

Created during the early Reformation period, the print reflects the era’s heightened interest in saintly intercession. While the original block’s whereabouts are unknown, surviving impressions are held in several European print collections, indicating the work’s wide circulation and its role in devotional print culture of the early sixteenth century.

Context

The inclusion of both royal and martial attributes aligns with contemporary representations of female saints, merging piety with worldly authority. By grouping Helena, Brigitta and Elizabeth, Burgkmair responds to a devotional trend that highlighted exemplary women as models of faith, charity, and steadfastness.