Saints Augustine and Peter

c. 1350

Paolo Veneziano (Italian, active 1333–1358/62)
Workshop of Paolo Veneziano (Italian, active 1333–1358/62)

Saints Augustine and Peter and Saints John the Baptist and Catherine of Alexandria—identifiable by their clothing, attributes, and Latin inscriptions—once flanked a larger central image, probably of a Virgin and Child. The frames were made in the early 20th century, but they reflect the architectural style and motifs typical of 14th century Venetian altarpieces.

The leading Venetian painter of his time, Paolo Veneziano combined sinuous Gothic contours, sumptuous textile patterns, and severe facial types influenced by contemporary Byzantine art. This mix of styles reflects Venice’s role as the center of a vast trade network encompassing Western Europe and the Byzantine Empire and extending as far as East Asia and sub-Saharan Africa.

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

Artist: Workshop of Paolo Veneziano
Title: Saints Augustine and Peter
Place: Venice (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.: 1345–1355
Medium: Tempera on panel
Inscriptions: Inscribed: S/AGV/STI/NV/S (to the left of Saint Augustine, in red pigment), S/PET/RVS (to the left of Saint Peter, in red pigment)
Dimensions: 77.4 × 49.5 cm (30 1/2 × 19 1/2 in.); Framed: 101 × 59.7 cm (39 3/4 × 23 1/2 in.)
Credit Line: Gift of Mrs. Charles V. Hickox
Reference Number: 1958.304
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/8034/manifest.json

Frank Jewett Mather, Jr., “Roerich Museum to Sell Many Old Masters,” Art News 28, 20 (1930), p. 3.
“Roerich Museum Is to Sell Its Old Masters,” Art Digest 4, 11 (1930), p. 15.
Daniel Catton Rich, “Two Trecento Venetian Panels,” Bulletin of the Art Institute of Chicago 24 (1930), pp. 86–89 (ill.).
Evelyn Sandberg-Vavalà, “Maestro Paolo Veneziano,” Burlington Magazine 57 (1930), pp. 171, 177.
The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1932, p. 192.
Bernard Berenson, Italian Pictures of the Renaissance: Venetian School, 2 vols., London, 1957, vol. 1, p. 127.
Evelyn Sandberg-Vavalà, “Maestro Paolo Veneziano: His Paintings in America and Elsewhere,” (1939) in Michelangelo Muraro, Paolo da Venezia, University Park, Pennsylvania, and London, 1970, pp. 97, 98 n. 7.
Sergio Bettini, Pitture cretesi-veneziane, slave e italiane del Museo Nazionale di Ravenna, Ravenna, 1940, p. 100 n. 1.
Rodolfo Pallucchini, La pittura veneziana del trecento, Lezioni tenute alla Facoltà di Lettere dell’Università di Bologna, Bologna, 1955, p. 131.
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, p. 350.
Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae, Munich, 1961, p. 516.
Rodolfo Pallucchini, La pittura veneziana del trecento, Venice and Rome, 1964, p. 51, fig. 172.
Brigitte Klesse, Seidenstoffe in der italienischen Malerei des 14. Jahrhunderts, Bern, 1967, p. 446, no. 460c.
John Maxon, The Art Institute of Chicago, 1970, pp. 23, 288.
Michelangelo Muraro, Paolo da Venezia, University Park, Pennsylvania, and London, 1970, pp. 55, 73 n. 47, 103–4, 106, fig. 19.
Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge, Massachusetts, 1972, pp. 158, 375, 441, 571.
Grgo Gamulin, “La pittura su tavola nel tardo medioevo sulla costa orientale dell’Adriatico” in Venezia e il Levante fino al secolo XV, ed. Agostino Pertusi (Florence, 1974), p. 204 n. 1.
Christopher Lloyd, with contributions by Margherita Andreotti, Larry J. Feinberg, and Martha Wolff, Italian Paintings before 1600 in The Art Institute of Chicago: A Catalogue of the Collection, Chicago, 1993, pp. 185–89, ill.
Robert Gibbs, “Paolo Veneziano (Paolo da Venezia)” in The Dictionary of Art, vol. 24, London, 1996, pp. 32-33.
Mojmír S. Frinta, Punched Decoration on Late Medieval Panel and Miniature Painting, Part I, Prague, 1998, p. 130.
Filippo Pedrocco, Paolo Veneziano, Milan, 2003, pp. 111, 116, 130, 192–93, no. 24, ill.

The Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1 to November 1, 1933, no. 88, as School of Lorenzo Veneziano.
The Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1 to November 1, 1934, no. 36, as School of Lorenzo Veneziano.

Grimaldi, Venice (according to the Roerich Museum sale catalogue); The Roerich Museum, New York; sold American Art Association, New York, March 28, 1930, no. 151 (ill.), as Lorenzo Veneziano, to Robert B. Harshe acting on behalf of Catherine Barker Spaulding Hickox (Harshe was listed as the buyer in the published results of the Roerich sale); Catherine Barker Spaulding Hickox, Michigan City, Indiana, and New York, 1930–58; on loan to the Art Institute from 1932; given to the Art Institute, 1958.

Object information is a work in progress and may be updated as new research findings emerge. To help improve this record, please email . Information about image downloads and licensing is available here.

On View

Status

Department

Artist

Title

Place

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.

Medium

Inscriptions

Dimensions

Credit Line

Reference Number

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.

Explore Further

Suggested Terms

See all hours

On View

Date:

Artist:

About this artwork

Status

Department

Artist

Title

Place

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.

Medium

Inscriptions

Dimensions

Credit Line

Reference Number

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.

Extended information about this artwork

Publication History

Exhibition History

Provenance

Share

Explore Further

Sign up for our enewsletter to receive updates.

Gallery actions

Image actions

Share

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.