Where can I see St. Job, Prophet; St. Gangulphus; St. Epiphanius; St. Mary of Martyrs?

St. Job, Prophet; St. Gangulphus; St. Epiphanius; St. Mary of Martyrs is held by National Gallery of Art.

What movement is St. Job, Prophet; St. Gangulphus; St. Epiphanius; St. Mary of Martyrs?

St. Job, Prophet; St. Gangulphus; St. Epiphanius; St. Mary of Martyrs is associated with Baroque.

Artwork

St. Job, Prophet; St. Gangulphus; St. Epiphanius; St. Mary of Martyrs

St. Job, Prophet; St. Gangulphus; St. Epiphanius; St. Mary of Martyrs 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

Jacques Callot’s 1634 etching presents a quartet of saints—Job, Gangulphus, Epiphanius, and Mary of Martyrs—each rendered in a separate oval vignette. The figures stand against a subtly layered backdrop, their forms defined by fine lines and chiaroscuro that convey a sense of depth typical of Baroque printmaking.

Subject & Meaning

The work gathers four distinct holy personages: the biblical figure Job, the martyr Saint Gangulphus holding a sword, Bishop Saint Epiphanius accompanied by a dragon, and Saint Mary of Martyrs surrounded by a crowd. Their juxtaposition underscores themes of suffering, martyrdom, and divine intercession within a single compositional scheme.

Technique & Style

Executed in etching on laid paper, the image showcases Callot’s meticulous line work and intricate detailing. The oval formats and dramatic lighting create a three‑dimensional effect, while the baroque sensibility is evident in the dynamic poses and the careful rendering of textures, from fabric folds to facial expressions.

History & Provenance

Created in 1634, the piece belongs to Callot’s prolific output of more than 1,400 prints that document a range of subjects—from military scenes to religious narratives. As a French printmaker from the Duchy of Lorraine, Callot’s works circulated widely in the 17th‑century European market, influencing subsequent generations of draughtsmen.

Context

During the early 1630s, the Counter‑Reformation encouraged vivid visual representations of saints to inspire devotion. Callot’s choice of these particular figures reflects contemporary devotional interests and the broader baroque trend of dramatizing sacred stories for didactic purposes.