Who painted St. Genevieve; St. Titus; St. Simeon Stylites; Epiphany?

St. Genevieve; St. Titus; St. Simeon Stylites; Epiphany was painted by Jacques Callot in 1634.

Where can I see St. Genevieve; St. Titus; St. Simeon Stylites; Epiphany?

St. Genevieve; St. Titus; St. Simeon Stylites; Epiphany is held by National Gallery of Art.

What movement is St. Genevieve; St. Titus; St. Simeon Stylites; Epiphany?

St. Genevieve; St. Titus; St. Simeon Stylites; Epiphany is associated with Baroque.

Artwork

St. Genevieve; St. Titus; St. Simeon Stylites; Epiphany

Jacques Callot , 1634

St. Genevieve; St. Titus; St. Simeon Stylites; Epiphany 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

Created circa 1634 by Jacques Callot, a French printmaker active in the Duchy of Lorraine, this work is an etching on laid paper that presents four distinct religious vignettes within circular frames. Each vignette is accompanied by a brief inscription, linking the image to its saintly subject and to the liturgical theme of the Epiphany.

Subject & Meaning

The four panels depict Saint Genevieve, Saint Titus, Saint Simeon Stylites, and an allegorical scene of the Epiphany. Genevieve is shown in prayerful posture, Titus appears as a martial figure, Simeon Stylites is rendered atop a towering column, and the Epiphany scene gathers a crowd around a central structure, emphasizing themes of devotion, martyrdom, and revelation.

Technique & Style

Callot employed fine, linear etching to achieve intricate detail within a compact format. The use of a metal plate allowed for precise, delicate lines that delineate figures, architecture, and atmospheric elements such as clouds. The laid paper surface contributes a subtle texture that enhances the contrast between inked lines and the background.

History & Provenance

Part of Callot’s prolific output of more than 1,400 prints, this piece reflects his interest in combining narrative religious content with elaborate settings. Produced during a period when the artist was documenting contemporary religious and civic subjects, the print likely circulated among collectors of devotional imagery in the mid‑17th century.

Context

In the Baroque era, prints served both as devotional objects and as means of disseminating religious narratives to a wider audience. Callot’s work aligns with this practice, offering accessible visual stories of saints while showcasing his skill in rendering complex compositions on a small scale.