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About This Artwork
Landscape with the Penitent Saint Jerome, 1530/40
Oil on panel
15 x 21 7/16 in. (38.1 x 54.5 cm); painted surface 14 15/16 x 21 3/8 in. (37.9 x 54.3 cm)
Robert A. Waller Memorial Fund, 1953.27
In the 16th century, the port city of Antwerp was a center of the growing international trade in art; its artists began to produce paintings for collectors in addition to traditional images for devotional use. One new painting type was the independent landscape, an outgrowth of the lovely, naturalistic backgrounds that were one of the most admired aspects of Flemish religious paintings. Usually a diminutive religious subject occupied the foreground of these landscapes, providing an organizing principle for the panoramic view that was the picture's main subject. Here Saint Jerome beats his breast in repentance for his earlier worldly pursuits; the lion he befriended sits nearby.
Columbus (Ohio) Gallery of Fine Arts, A Tour of Famous Cities, 1952, no. 33.
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, Chicago, 1961, p. 351.
Herbert Friedmann, A Bestiary for Saint Jerome: Animal Symbolism in European Religious Art, Washington, D.C., 1980, p. 338.
Comte de Bousies, Brussels [according to a fact sheet in the curatorial file, presumably provided by Knoedler; an annotation on the mount of a photograph in the Friedländer Archive, at the Rijksbureau voor Kunsthistorische Documentatie, The Hague, supports this provenance, though the name is transcribed as “de Bourier”]. Probably Eric-Emil Lyndhurst, Brussels, by January 1950 [the mount of the photograph mentioned above indicates that Friedländer’s opinion was provided for “Lyndhurst, Brussels” on January 5, 1950; whether the collector and dealer Eric-Emil Lyndhurst owned the picture or handled it as an agent is unclear; it was not among his stock confiscated during World War II, according to letter of 22 January, 2002 from Bart Eeman, Belgian Ministry of Economic Affairs, in curatorial file]. Sale, Palais des Beaux-Arts, Brussels, May 21, 1951, no. 115, pl. 7, as Patinir. Knoedler, New York, by 1952 [Lent by Knoedler to 1952 exhibition]; sold to the Art Institute, 1953.