Saint George and the Dragon

CC0 Public Domain Designation

1434–35

Bernat Martorell (Spanish, active from 1427–died 1452)

As a model of Christian knighthood, Saint George was a popular figure in the Middle Ages. Artists most frequently represented the episode from his legend in which he slays a dragon and rescues a beautiful princess set to be sacrificed to the beast. The Catalan painter Bernat Martorell included a wealth of detail in his version of the story. Animal and human bones litter the foreground. Lizards—or perhaps baby dragons—crawl around the opening of the dragon’s cave. The princess’s parents and throngs of onlookers crowd the town’s battlements to view the action. Martorell enlivened the physical surface of the painting as well: He richly modeled George’s halo and armor and the scaly body of the dragon with raised gesso decoration, and he gave granular texture to the depiction of the sandy foreground.

Saint George and the Dragon was the central panel of an altarpiece devoted to the saint and was originally surrounded by four smaller narrative panels showing his martyrdom (now in the Musée du Louvre, Paris). Martorell probably painted the altarpiece for the chapel of the Barcelona palace of the government of Catalonia, a region whose patron is Saint George.

Status: On View, Gallery 237
Department: Painting and Sculpture of Europe

Artist: Bernat Martorell
Title: Saint George and the Dragon
Place: Spain (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1434–1435
Medium: Tempera on panel
Dimensions: 155.6 × 98.1 cm (61 1/4 × 38 5/8 in.)
Credit Line: Gift of Mrs. Richard E. Danielson and Mrs. Chauncey McCormick
Reference Number: 1933.786
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/15468/manifest.json

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Justin E.A. Kroesen, Staging the Liturgy: The Medieval Altarpiece in the Iberian Peninsula, Leuven, Paris and Walpole, Massachusetts, 2009, pp. 82-83, fig. 58.
Sebastià Sánchez Sauleda, “Col.leccionisme, art i reminiscencies medievals: Charles Deering i el Palau Maricel de Sitges,” Lambard. Estudis d’art medieval 22 (2010/2011), p. 101, 105-107, fig. 4.
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Anna Muntada i Torrellas, “Vestir l’altar de la capella: hun pali molt bell brodat de fil d’or, argent e de seda” in Marià Carbonell i Buades, ed., El Palau de la Generalitat de Catalunya: art i arquitectura, vol. 1, Barcelona, 2015, pp. 182, 186, 187, 190, 191, ill.
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Barcelona, Academia de Bellas Artes, Exposición retrospectiva de obras de pintura, de escultura y artes suntuarias, 1867, nos. 2139–44.
Chicago, The Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture Lent from American Collections, June 1 - November 1, 1933, cat. 178 (ill.).
Chicago, The Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture Lent from American Collections, June 1 - November 1, 1934, cat. 78.
Art Institute of Chicago, Masterpiece of the Month, July 1939 (no cat.).
The Art Institute of Chicago, New Light on Old Masters: Research on Northern European and Spanish Paintings before 1600 in the Art Institute, 26 June—14 September 2008, no cat.

Probably commissioned for the chapel of Saint George, Palau de la Generalitat, Barcelona [Sobré in Wolff 2008]; Don Francesc de Sales de Rocabruna i Jordà, Baron of Albi, by 1867, died 1874 [lent by him to Barcelona 1867, along with the four lateral panels now in the Louvre, Paris, and a painting of the Virgin, probably the painting now in the Philadelphia Museum of Art]; when his estate was divided between his sister Maria Josepa de Rocabruna i Jordà (d. 1890) and his widow Josepa de Rocabruna i Pascual (died 1884), Saint George and the Dragon is likely to have passed to his widow, since two of her three executors correspond to the executors mentioned in the confused account of the painting’s sale in Sanpere y Miquel 1906, vol. 1, p. 195, vol. 2, p. 275 [see Macías and Cornudella 2011-2012, pp. 21-22 for the family relationships and likely transmission]. Don José Ferrer-Vidal i Soler, Barcelona, by 1906, until 1917 [Sanpere y Miquel 1906, vol. 1, p. 194, see also Macías and Cornudella 2012, p. 22 and Sánchez Sauleda 2014, p. 429]; sold by him to Charles Deering, Marycel, Sitges, near Barcelona, and Chicago, in 1917 [see Sánchez Sauleda 2014]; the painting was placed on loan at the Art Institute in 1921; loan agreement, Nov. 18, 1921, Art Institute Archives]; given to his daughters, Marion Deering McCormick and Barbara Deering Danielson, 1924 [Art Institute Archives]; given by them to the Art Institute, 1933.

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Educator Resource Packet: Saint George Killing the Dragon by Bernat Martorell

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