Who painted The Temptation of Saint Anthony [first version]?

The Temptation of Saint Anthony [first version] was painted by Jacques Callot in 1617.

Where can I see The Temptation of Saint Anthony [first version]?

The Temptation of Saint Anthony [first version] is held by National Gallery of Art.

What movement is The Temptation of Saint Anthony [first version]?

The Temptation of Saint Anthony [first version] is associated with Baroque.

Artwork

The Temptation of Saint Anthony [first version]

Jacques Callot , 1617

The Temptation of Saint Anthony [first version] is an ink print by the Baroque artist Jacques Callot. It dates from 1617 and is held in the collection of the National Gallery of Art. Created circa 1617, this etching depicts the legendary ordeal of Saint Anthony as he confronts a horde of grotesque demons.

About this work

Overview

Created circa 1617, this etching depicts the legendary ordeal of Saint Anthony as he confronts a horde of grotesque demons. The image spans two joined sheets of laid paper, forming a continuous, densely packed tableau that immerses the viewer in a nightmarish landscape of twisted bodies and shadowy forms.

Subject & Meaning

The work visualizes the saint’s spiritual trial, a popular medieval motif symbolizing the struggle between piety and temptation. By populating the scene with a multitude of monstrous figures assaulting human victims, the artist underscores the chaotic forces that test faith, while the central figure of Saint Anthony remains a calm anchor amid the frenzy.

Technique & Style

Executed with fine etching lines on a damaged plate, the print demonstrates meticulous hatching and cross‑hatching to render texture, from the scaly skins of demons to the crumbling terrain. The dark tonal range, achieved through deep shadows and dense stippling, creates atmospheric depth characteristic of Baroque drama, while the intricate composition reflects the artist’s precise observational skill.

History & Provenance

The piece originates from the French printmaker Jacques Callot, a leading figure in early 17th‑century Lorraine. It belongs to his early religious series, produced alongside military and courtly subjects. The surviving impression is assembled from two sheets that were originally printed separately and later pasted together, indicating the plate’s wear and the work’s subsequent restoration.