Who painted St. Eulalia; St. Fusca and Maura; St. Valentine; St. Anthony?

St. Eulalia; St. Fusca and Maura; St. Valentine; St. Anthony was painted by Jacques Callot in 1634.

Where can I see St. Eulalia; St. Fusca and Maura; St. Valentine; St. Anthony?

St. Eulalia; St. Fusca and Maura; St. Valentine; St. Anthony is held by National Gallery of Art.

What movement is St. Eulalia; St. Fusca and Maura; St. Valentine; St. Anthony?

St. Eulalia; St. Fusca and Maura; St. Valentine; St. Anthony is associated with Baroque.

Artwork

St. Eulalia; St. Fusca and Maura; St. Valentine; St. Anthony

Jacques Callot , 1634

St. Eulalia; St. Fusca and Maura; St. Valentine; St. Anthony 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. Created circa 1634, this work consists of four small oval etchings on laid paper, each depicting a different saint.

About this work

Overview

Created circa 1634, this work consists of four small oval etchings on laid paper, each depicting a different saint. The French Baroque printmaker Jacques Callot, active in the Duchy of Lorraine, executed the images using the etching technique, a medium he employed for a prolific output of more than a thousand prints.

Subject & Meaning

The individual plates illustrate the martyrdoms and legends of Saint Eulalia, Saint Fusca and Maura, Saint Valentine, and Saint Anthony.

The individual plates illustrate the martyrdoms and legends of Saint Eulalia, Saint Fusca and Maura, Saint Valentine, and Saint Anthony. Each scene presents a narrative moment—such as a woman on a cross attended by soldiers, a group of figures on horseback, a spear‑bearing figure with a kneeling supplicant, and a robed saint with a staff accompanied by a bird and a dog—intended to convey the virtues and trials associated with the saints.

Technique & Style

Callot’s etching displays the fine line work and crisp detailing characteristic of his practice. The use of laid paper provides a subtle texture that enhances the contrast between the delicate cloud borders, the inscribed names, and the sharply rendered figures. The composition balances intricate human activity with clear, readable storytelling, a hallmark of early 17th‑century printmaking.

History & Provenance

The set belongs to Callot’s extensive series of religious prints, produced during a period when devotional imagery was in high demand across Europe. While specific ownership records are limited, the work reflects the artist’s broader engagement with ecclesiastical commissions and the circulation of prints for private contemplation and public instruction.

Context

In the early 1630s, the Counter‑Reformation spurred a surge in visual representations of saints, and Callot’s prints responded to this cultural climate. Operating from Lorraine, he blended French Baroque sensibilities with the detailed observation of everyday life that marked his oeuvre, situating these religious scenes within a realistic, almost documentary visual language.