Saint Jerome in the Wilderness

1585/90

Workshop of Veronese (Paolo Caliari; Italian, 1528–1588)

Status: On View, Gallery 206
Department: Painting and Sculpture of Europe

Artist: Workshop of Paolo Veronese
Title: Saint Jerome in the Wilderness
Place: Italy (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.: 1580–1590
Medium: Oil on canvas
Dimensions: 134.8 × 176.6 cm (53 1/8 × 69 7/8 in.); Framed: 163.2 × 203.9 × 6.4 cm (64 1/4 × 80 1/4 × 2 1/2 in.)
Credit Line: Charles H. and Mary F. S. Worcester Collection
Reference Number: 1947.117
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/59974/manifest.json

Catalogue of Paintings belonging to the rev. J. Sanford; collected in Italy, from 1815 to 1837. Entrusted to G. Yates and Son, to be partially disposed of by private contract at 209 Regent Street, London, 1838, p. 19, no. 102.
“Chicago Gets Handsome Gift,” Pictures on Exhibit 9, 7 (1947), p. 14. Katharine Kuh, “The Worcester Gift,” AIC Bulletin (1947), pp. 62-63 (ill.).
The Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, 1948, p. 26.
F.A. Sweet, “La pittura italiana all’Art Institute di Chicago,” Le vie del mondo: Rivista mensile des Touring Club Italiano 15 (1953), p. 698 (ill.).
Benedict Nicholson, “The Sanford Collection,” Burlington Magazine 97 (1955), pp. 208, 214, no. 56.
Bernard Berenson, Italian Pictures of the Renaissance: Venetian School, vol. 1, London, 1957, p. 130.
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, p. 461.
Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” In Miscellanea Bibliohecae Hertzianae, Munich, 1961, p. 517.
G. Piovene and R. Marini, L’opera completa del Veronese, Classici dell’arte 20, Milan, 1968, p. 104, no. 76 (ill.).
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge, Mass., 1972, pp. 39, 409, 571.
T. Pignatti, Veronese, Venice, 1976, vol. 1, p. 175, no. A49, vol. 2, fig. 763.
R. Cock, review of Veronese by T. Pignatti, in Burlington Magazine 119 (1977), p. 786. J. D. Morse, Old Master Paintings in North America, New York, 1979, p. 294.
R. Cock, Veronese, London, 1980, p. 110, pl. 72. H. Friedmann, A Bestiary for Saint Jerome: Animal Symbolism in European Religious Art, Washington, D.C., 1980, p. 347.
L. Larcher Crosato, “La Bottega di Paolo Veronese,” Nuovi studi su Paolo Veronese: Convegno internazionale di studi, Venezia, 1-4 giugno 1988, ed. by M. Gemin, Venice, 1988, pp. 263, 265 n. 50.
Christopher Lloyd, Italian Paintings before 1600 in The Art Institute of Chicago, Chicago, 1993, pp. 292-295, (ill.).

The Art Institute of Chicago, Masterpiece of the Month, 1949 (no cat.).
The Art Institute of Chicago, Bill Viola: A 25-Year Survey, October 16, 1999 – January 9, 2000, included in the gallery that held Viola’s The Greeting for the Chicago venue.

Rev. John Sanford, Florence and London, by 1837 [see Sanford catalogue, 1837, p. 19, no. 102.] Sold Christie’s, London, March 9, 1839, no. 131, for £23 2s, to G. Yates. Possibly George Byng (1764-1847) or his nephew George Byng (1806-1886), second earl of Strafford of the third creation, Wrotham Park, Barnet (Middlesex) [according to information supplied by M. Knoedler; but unverified.] A.L. Nicholson, London, by 1930 [see letter of 20 February 1930 from Bernard Berenson to Nicholson in curatorial file]. M. Knoedler, New York, acquired December 1944 (stock no. A 2989) and sold to the Art Institute, May 10, 1945.

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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.

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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.