Who painted St. Servatius; St. Boniface; St. Pachomius; St. Corona?

St. Servatius; St. Boniface; St. Pachomius; St. Corona was painted by Jacques Callot in 1634.

Where can I see St. Servatius; St. Boniface; St. Pachomius; St. Corona?

St. Servatius; St. Boniface; St. Pachomius; St. Corona is held by National Gallery of Art.

What movement is St. Servatius; St. Boniface; St. Pachomius; St. Corona?

St. Servatius; St. Boniface; St. Pachomius; St. Corona is associated with Baroque.

Artwork

St. Servatius; St. Boniface; St. Pachomius; St. Corona

Jacques Callot , 1634

St. Servatius; St. Boniface; St. Pachomius; St. Corona 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

This etching shows four saints in long robes, standing side by side. Each wears a halo and holds a book or staff. The lines are crisp and the shadows deep.

Callot was a French printmaker who worked mostly in Nancy and Paris. He made this around 1632, when prints were a quick way to spread images far and wide. The saints look stiff, but the shading gives them weight.

Look up Callot, Jacques next.

Overview

This 17th-century etching by Jacques Callot presents four Christian saints—Servatius, Boniface, Pachomius, and Corona—arranged in a characteristic composition. Executed on laid paper around 1632-1634, the work exemplifies Callot's prolific output as a leading Baroque printmaker.

Subject & Meaning

The etching portrays four saints in traditional attire, each distinguished by a halo and attribute (book or staff). Their rigid poses and solemn demeanor reflect the religious themes prevalent in Callot's oeuvre, alongside his more secular works.

Technique & Style

Callot's mastery of etching is evident in the crisp lines and deep shadows, lending depth and weight to the figures. The style is consistent with his contributions to the development of old master prints.

History & Provenance

Created circa 1632-1634, this etching was produced during a period when prints facilitated widespread dissemination of images. Callot, based primarily in Nancy and Paris, leveraged this medium effectively.

Context

Within the broader artistic landscape of the Baroque, Callot's work bridged religious and everyday themes. This etching, with its accessible format, contributed to the era's visual culture.

Legacy

As part of Callot's vast corpus of over 1,400 etchings, *St. Servatius; St. Boniface; St. Pachomius; St. Corona* reflects his enduring impact on the evolution of printmaking in Europe.