Who painted St. Brice; St. Serapion; St. Eugenius; St. Edmund?

St. Brice; St. Serapion; St. Eugenius; St. Edmund was painted by Jacques Callot in 1634.

Where can I see St. Brice; St. Serapion; St. Eugenius; St. Edmund?

St. Brice; St. Serapion; St. Eugenius; St. Edmund is held by National Gallery of Art.

What movement is St. Brice; St. Serapion; St. Eugenius; St. Edmund?

St. Brice; St. Serapion; St. Eugenius; St. Edmund is associated with Baroque.

Artwork

St. Brice; St. Serapion; St. Eugenius; St. Edmund

Jacques Callot , 1634

St. Brice; St. Serapion; St. Eugenius; St. Edmund is an ink print by the Baroque artist Jacques Callot. It dates from 1634 and is held in the collection of the National Gallery of Art.

About this work

Overview

The work exemplifies Callot’s prolific output of etchings that combine narrative detail with precise line work.

Around 1634, French printmaker Jacques Callot produced a set of four small oval etchings on laid paper, each portraying a different saint—St Brice, St Serapion, St Eugenius and St Edmund. The images are arranged in a two‑by‑two grid, each framed by a thin border bearing the saint’s name. The work exemplifies Callot’s prolific output of etchings that combine narrative detail with precise line work.

Subject & Meaning

Each panel presents a solitary holy figure in a distinct setting, reflecting the individual attributes and legends associated with the saints. The selection of these particular saints, ranging from early Christian martyrs to medieval British figures, underscores the broad religious repertoire that Callot occasionally explored alongside his secular subjects.

Technique & Style

The etchings display Callot’s characteristic fine line engraving, with delicate hatching that creates subtle tonal variations and a sense of three‑dimensional form. The use of laid paper enhances the texture of the prints, while the narrow borders and handwritten labels integrate the images into a cohesive series.

History & Provenance

Created during Callot’s mature period in Lorraine, the series forms part of his extensive catalogue of more than 1,400 prints. Although primarily known for his depictions of soldiers and courtly life, this religious set illustrates his occasional engagement with devotional subjects for private or ecclesiastical patrons.

Context

The early‑17th‑century French Baroque milieu encouraged detailed narrative prints that could be disseminated widely. Callot’s work, including this saintly series, reflects the period’s interest in combining scholarly illustration with artistic virtuosity, catering to collectors who valued both visual richness and iconographic content.