Who painted Saint Anthony of Padua Holding the Christ Child?

Saint Anthony of Padua Holding the Christ Child was painted by Simone Cantarini in 1644.

Where can I see Saint Anthony of Padua Holding the Christ Child?

Saint Anthony of Padua Holding the Christ Child is held by National Gallery of Art.

What movement is Saint Anthony of Padua Holding the Christ Child?

Saint Anthony of Padua Holding the Christ Child is associated with Baroque.

Artwork

Saint Anthony of Padua Holding the Christ Child

Simone Cantarini , 1644

Saint Anthony of Padua Holding the Christ Child is an ink print by the Baroque artist Simone Cantarini. It dates from 1644 and is held in the collection of the National Gallery of Art. Created circa 1644, this print presents Saint Anthony of Padua cradling the infant Christ.

About this work

Overview

Created circa 1644, this print presents Saint Anthony of Padua cradling the infant Christ. Executed in etching on laid paper, the image is characterized by a solitary figure in a flowing robe, a modest pedestal behind him, and a draped cloth that adds a subtle backdrop. The composition conveys a quiet devotional scene typical of mid‑seventeenth‑century religious prints.

Subject & Meaning

The work portrays the Franciscan saint, revered for his preaching and miracles, tenderly holding the Christ Child, a motif that emphasizes his role as a spiritual intercessor. By juxtaposing the adult saint with the infant deity, the image underscores themes of humility, compassion, and the intimate bond between humanity and the divine.

Technique & Style

Simone Cantarini employed traditional etching, incising lines into a copper plate with acid to create varied depths. The resulting marks are uneven and textured, giving the figures a slightly rough surface quality. The artist’s handling of line produces a delicate tonal range, reflecting his reputation for luminous effects within the constraints of printmaking.

History & Provenance

The print is attributed to Cantarini, also known as il Pesarese, an Italian painter and etcher active in Bologna during the mid‑1600s. Though specific ownership records are scarce, the piece aligns with his known output of religious subjects and demonstrates the print’s circulation among devotional audiences of the period.

Context

In the Baroque era, religious imagery served both private devotion and public instruction. Cantarini’s blend of Bolognese classicism with naturalistic detail mirrors broader artistic currents that sought to make sacred narratives accessible and emotionally resonant. Prints such as this allowed wider dissemination of saintly iconography beyond the reach of painted altarpieces.