Who painted St. George; St. Sabas; St. Mark, Evangelist; St. Marcellin?

St. George; St. Sabas; St. Mark, Evangelist; St. Marcellin was painted by Jacques Callot in 1634.

Where can I see St. George; St. Sabas; St. Mark, Evangelist; St. Marcellin?

St. George; St. Sabas; St. Mark, Evangelist; St. Marcellin is held by National Gallery of Art.

What movement is St. George; St. Sabas; St. Mark, Evangelist; St. Marcellin?

St. George; St. Sabas; St. Mark, Evangelist; St. Marcellin is associated with Baroque.

Artwork

St. George; St. Sabas; St. Mark, Evangelist; St. Marcellin

Jacques Callot , 1634

St. George; St. Sabas; St. Mark, Evangelist; St. Marcellin 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

Around 1634 Jacques Callot, a printmaker from the Duchy of Lorraine, produced an etching on laid paper that brings together four saints—George, Sabas, Mark the Evangelist, and Marcellin. The work exemplifies Callot’s meticulous line work and his capacity to render multiple figures within a compact composition.

Subject & Meaning

The image presents the four saints in a straightforward arrangement, each identifiable by traditional attributes: the armored rider for George, the hermit’s garb for Sabas, the gospel book for Mark, and the episcopal insignia for Marcellin. Their juxtaposition reflects a devotional grouping, likely intended for private or liturgical contemplation.

Technique & Style

Executed as an etching, the piece relies on fine, incised lines that convey texture in clothing, armor, and facial features. The use of laid paper provides a subtle tooth that enhances the tonal variation of the black ink, while Callot’s characteristic precision gives each figure a distinct presence within the overall design.

History & Provenance

Callot was a prolific artist, leaving a legacy of more than 1,400 etchings that document a wide range of subjects from religious narratives to everyday life in 17th‑century Europe. This particular work forms part of his extensive output of devotional prints, though specific ownership records prior to the modern era are not documented.

Context

Created during the Baroque period, the etching reflects contemporary tastes for detailed, narrative-driven prints that could be reproduced and circulated among collectors and religious institutions. Callot’s Lorraine background placed him at a crossroads of French and German artistic influences, evident in the blend of precise line work and expressive detail.