St. Anthony Abbott
early 17th century
62.5 " x 43" Framed: 78.5" x 57.5"
Painting, oil on canvas
Region: Europe, Spain
62.5 " x 43" Framed: 78.5" x 57.5"
Painting, oil on canvas
Region: Europe, Spain
The painting depicts a St. Anthony portrayed as barefoot, bearded older man, dressed in a off-white long-sleeved long robe under a cape, or mozetta, with a cap. The shoulder of the mozetta has an embroidered cross. St. Anthony sits with an opened book in this lap, body turned toward the viewer's right while his upturned face is turned to the viewer's left. His palm of his left hand his open towards the viewer and rests on his knee, while his right arm and hand is held against his chest.
Beside the man is another opened book on which lies a skull and a bell. A small plume of smoke appears to rise from the book's corner. Behind that is yet a third tome. There is a large, broad-leaved plant in the lower left corner of the painting. Trees and foliage surround the sitter, while in the upper left corner the clouds appear to part, letting the sun shine through.
Provenance: Valerian von Loga
Literature: Alfonso E. Perez :Sanchez and Benito Navarette Prieto, “Luis Tristan” (Madrid: Real Fundación de Toledo and Fundación BBVAm 2001) 168, catalogue# 76
The artist often painted several versions of certain compositions. There is a version of this painting in the Prado, but according to Dr, William Jordan, it is in less good condition, and lacks the foreground plant in the subject property. The Prado version is illustrated and discussed in a section written by Alfonso E, Perez Sanchez for the exhibit El Toledo def Greco, Toledo, Spain, April-June 1982, (p, 201, illustration #179). A third version, now lost, belonged to the Marques del Saltillo and is considered a replica.
Beside the man is another opened book on which lies a skull and a bell. A small plume of smoke appears to rise from the book's corner. Behind that is yet a third tome. There is a large, broad-leaved plant in the lower left corner of the painting. Trees and foliage surround the sitter, while in the upper left corner the clouds appear to part, letting the sun shine through.
Provenance: Valerian von Loga
Literature: Alfonso E. Perez :Sanchez and Benito Navarette Prieto, “Luis Tristan” (Madrid: Real Fundación de Toledo and Fundación BBVAm 2001) 168, catalogue# 76
The artist often painted several versions of certain compositions. There is a version of this painting in the Prado, but according to Dr, William Jordan, it is in less good condition, and lacks the foreground plant in the subject property. The Prado version is illustrated and discussed in a section written by Alfonso E, Perez Sanchez for the exhibit El Toledo def Greco, Toledo, Spain, April-June 1982, (p, 201, illustration #179). A third version, now lost, belonged to the Marques del Saltillo and is considered a replica.
About the Artist
(1585 - 1624)
Luis Tristán de Escamilla, also known as Luis de Escamilla or Luis Rodríguez Tristán (c.1585, Toledo - 1624, Toledo), was a Spanish painter in the mannerist style.Tristán was born into a family of merchants and artisans. In 1603, he entered the workshop of El Greco, and remained there until 1606. He initially imitated his teacher's style to the extent that many of his works have been attributed to him and vice versa. After El Greco's son, Jorge Manuel Theotocópuli, Tristán is considered to be his principal follower, stressing the Tenebrist aspects of some of El Greco's work. Tristán’s style (notably his characteristically elongated proportions) owes much to the master, but Tristán is more sober, marking the transition from Mannerism to a more naturalistic approach.
Tristán then spent seven years in Italy, returning home around 1613. He would work exclusively in Toledo for the rest of his life.
His post-Italian work showed the influence of the Caravaggisti and the general aesthetic approach of the Counter-Reformation. Apart from a few realistic portraits, his work is religious in focus.
One of his best-known students was the still-life painter, Pedro de Camprobín.
