Who painted St. Catherine is laid in the grave by the angels?

St. Catherine is laid in the grave by the angels was painted by Egidio van der Rye in 1599.

Where can I see St. Catherine is laid in the grave by the angels?

St. Catherine is laid in the grave by the angels is held by Kunsthistorisches Museum.

What movement is St. Catherine is laid in the grave by the angels?

St. Catherine is laid in the grave by the angels is associated with Mannerism.

Artwork

St. Catherine is laid in the grave by the angels

Egidio van der Rye , 1599

St. Catherine is laid in the grave by the angels is a copper painting by the Mannerist artist Egidio van der Rye. It dates from 1599 and is held in the collection of the Kunsthistorisches Museum.

About this work

Overview

Created in 1599 by Egidio van der Rye, this copper‑sheet work portrays the martyr Saint Catherine of Alexandria in a moment of repose. The composition shows the saint being gently laid to rest by three winged angels, set against a clear sky dotted with clouds. The piece belongs to the collection of the Kunsthistorisches Museum in Vienna.

Subject & Meaning

The central figure, Saint Catherine, is depicted in a green robe trimmed with gold, her blonde hair cascading over her shoulders, suggesting a tranquil transition from life to death. The surrounding angels, each clothed in pastel hues, assist in her burial and sprinkle blossoms, evoking themes of sanctified sacrifice and heavenly intercession.

Technique & Style

Executed on copper, the work displays fine linear detail and a luminous palette characteristic of late‑Renaissance devotional images. The artist employs a balanced arrangement of figures, with the angels’ expansive wings framing the saint, while the soft blues of the sky contrast with the warm tones of the garments, creating a harmonious visual rhythm.

History & Provenance

First recorded in the early 17th century, the painting entered the holdings of the Kunsthistorisches Museum, where it remains on display. Its attribution to Egidio van der Rye has been consistently accepted by scholars, and the work is cited as a representative example of his religious output during the turn of the century.