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A young, nude, light-skinned man stands in the center of a rocky, mountainous landscape in this square painting. The man’s muscular body faces us but he turns his head in profile to our right as he looks down at the coral-red cloth he drops onto the ground. He is cleanshaven with prominent eyebrows, a straight nose, and his lips are slightly parted. He has thick, reddish-brown hair with bangs across his forehead, and there is a red-edged, glimmering, gold, plate-like halo across the crown of his head. He leans slightly to the side as he drops the red cloth onto a white one, already on the ground. With his other hand, he holds a fawn-brown animal skin or cloth over that shoulder. The man is surrounded by tan and parchment-brown, deeply ridged, mostly barren mountains. The pointed peaks nearly reach the top of the painting. The rocky mountains are interspersed with a few dark green bushes. A light blue stream curves in a shallow S shape along the right side of the painting. Peaks in the far distance are icy blue against a sky that deepens from topaz blue along the horizon to navy blue at the top edge. Some puffy and some thin white clouds float across the sky.

Domenico Veneziano

Saint John in the Desert, c. 1445/1450

West Building, Main Floor — Gallery 4

Medium

tempera on panel

Dimensions

overall: 28.4 x 31.8 cm (11 3/16 x 12 1/2 in.)

framed: 40.6 x 44.1 x 5.1 cm (16 x 17 3/8 x 2 in.)

Credit Line

Samuel H. Kress Collection

Accession Number

1943.4.48

Artists / Makers

Domenico Veneziano (artist) Florentine, c. 1410 - 1461

Image Use

This image is in the public domain.
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Overview

One of Domenico Veneziano's major works is an altarpiece that he painted about 1445 for the Church of Santa Lucia dei Magnoli, in Florence. The incident illustrated in this small panel from the base of the altarpiece is John's act of exchanging his rich, worldly clothes for a rough, camel–hair coat. In the few known representations of John in the wilderness that preceded Domenico's version, the emphasis was placed either on the divine origin of the saint's animal skin or on his preaching. Domenico, however, shifted attention from mere narration to the spiritual significance of John's decision to forsake luxury in favor of a life of piety.

Rather than showing the saint in the usual manner, as a mature, bearded hermit, Domenico painted a youthful figure. Clearly classical in appearance, his saint is one of the earliest embodiments of the Renaissance preoccupation with antique models. However, a fusion of pagan and Christian ideas is suggested; the Grecian type is transformed into a religious being by the golden halo above his head. Another innovative combination of elements exists in the arrangement of this male nude in a landscape that retains artistic features from the High Gothic era of the late Middle Ages. Symbolic rather than realistic, the rugged mountains enliven the drama of John's decision by emphasizing the desolate nature of his chosen environment.

Provenance

Main altar of the church of Santa Lucia de' Magnoli, Florence, probably until the early 18th century.[1] Sacristy of the same church, by 1728.[2] Third altar on the right of the nave of the same church, by 1762 and probably until the early 1800s.[3] Bernard Berenson [1865-1959], Settignano, acquired, perhaps in London, by July 1913;[4] presented 1919 by his wife, Mary Berenson, to Carl W. Hamilton [1886-1967], New York;[5] sold 1942 to the Samuel H. Kress Foundation, New York;[6] gift 1943 to NGA.

[1] The altarpiece is cited as being on the main altar (erroneously, as a work of Andrea del Castagno) by Giovanni Cinelli in Francesco Bocchi, Le bellezze della città di Firenze, ed. Giovanni Cinelli, Florence, 1677 (originally 1591): 280. It was probably moved on the occasion of restoration work done in the church between 1712 and 1715 (see Walter and Elisabeth Paatz, Die Kirchen von Florenz, 6 vols., Frankfurt am Main, 1941: 2:607).

[2] Cited as being there by Filippo Baldinucci, Notizie dei professori del disegno da Cimbaue in qua, 5 vols. (originally 6 vols.), ed. F. Ranalli, Florence, 1845-1847 (originally 1728): 3:95 n. 1.

[3] The altarpiece was described there by both Giuseppe Richa, Notizie istoriche delle chiese florentine, 10 vols., Florence, 1754-1762: 10:294) and Vincenzo Follini and Modesto Rastrelli, Firenze antica e moderna, 8 vols., Florence, 1789-1802: 8:254). Among early writers, G. Lanzi (Storia pittorica della Italia, Bassano, 1795-1796: 1:58) is the only one who mentions the predella, which at that time must still have been attached to the main panel. That in 1827 the usually careful Rumohr, the first to read and transcribe the signature of Domenico Veneziano on the altarpiece, did not mention the predella, leads one to suppose that by this date it was no longer in the church. See Carl Friedrich von Rumohr, Italienische Forschungen, 3 vols., ed. by Julius Schlosser, Frankfurt am Main, 1920 (originally Berlin, 1827-1831): 387. In fact, Rumohr presumably saw the panel during his second stay in Italy, between 1816 and 1820. (See E. Sigismund, "R.C.F. Freiherr von Rumohr," in Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, ed. Ulrich Thieme, Felix Becker, and Hans Vollmer, 37 vols., Liepzig, 1907-1950: 29[1935]:202.)

[4] According to his own statements (see Bernard Berenson, Abbozzo per un autoritratto, Florence, 1949: 228-229), Berenson collected art works only for the furnishing and decoration of his house, and ceased purchasing toward the middle of the second decade of the twentieth century. The period in which he came into possession of NGA 1943.4.48 can therefore be placed between about 1900 (when he moved to Villa I Tatti near Florence) and about 1915. The 1913 date was supplied by Carl Strehlke (curator, Philadelphia Museum of Art; e-mail to David Brown, 7 April 2011, in NGA curatorial files), who kindly shared his research in Berenson records at I Tatti. In the files of temporary import licenses for which Berenson applied are both a receipt dated 24 July 1913, on printed stationary of A.L. Nicholson in London, for "Picture on Panel / 'A Saint in the Wilderness' School of Fra Angelico," and Berenson's declaration to the Soprintendenza that he brought from London: "Dipinto su tavola con cornice Fig. S. Giovannino nel deserto." Both these documents probably refer to the NGA painting.

[5] See Nicky Mariano and Kenneth Clark, Forty Years with Berenson, New York, 1966: 18, who claim that it was Mary Berenson who gave the present, and the rectification by David Alan Brown, "Berenson's Contribution to Scholarship, Taste, and Collecting," in Berenson and the Connoisseurship of Italian Painting, exh. cat., National Gallery of Art, Washington, D.C., 1979: 22-23.

[6] Fern Rusk Shapley, Catalogue of the Italian Paintings, 2 vols., Washington, D.C., 1979: 1:159-162. Hamilton offered his painting to Samuel H. Kress in a letter dated May 1942 (copy in NGA curatorial files); the offer was accepted in the same year. See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/1856.

Associated Names

Berenson, Bernard
Hamilton, Carl W.
Kress Foundation, Samuel H.
Santa Lucia de'Magnoli

Exhibition History

1926: Loan Exhibition of Paintings, Furniture and Art Objects from the Collection of Carl W. Hamilton, Montclair Art Museum, New Jersey, 1925-1926, no. 64.

1930: Exhibition of Italian Art 1200-1900, Royal Academy of Arts, London, 1930, no. 132 (no. 112 and pl. XLII in commemorative catalogue published 1931; not in souvenir catalogue).

1935: Exhibition of Italian Paintings of the Renaissance, The Century Association, New York, 1935, no. 6.

1946: Recent Additions to the Kress Collection, National Gallery of Art, Washington, D.C., 1946, no. 715.

1979: Berenson and the Connoisseurship of Italian Painting, National Gallery of Art, Washington, D.C., 1979, no. 40, repro.

1990: Pittura di luce. Giovanni di Francesco e l'arte fiorentina di metà Quattrocento, Casa Buonarroti, Florence, 1990, no. 7, repro.

1992: Una scuola per Piero. Luce, colore e prospettiva nella formazione fiorentina di Piero della Francesca, Galleria degli Uffizi, Florence, 1992-1993, no. 11c, repro.

2004: From Filippo Lippi to Piero della Francesca: Fra Carnavale and the Making of a Renaissance Master, Pinacoteca di Brera, Milan; The Metropolitan Museum of Art, New York, 2004-2005, no. 22A, repro.

2018: The Renaissance Nude, J. Paul Getty Museum, Los Angeles; Royal Academy of Arts, London, 2018-2019, no. 22, repro. (shown only in Los Angeles).

Bibliography

1944: Cairns, Huntington, and John Walker, eds. Masterpieces of Painting from the National Gallery of Art. New York, 1944: 24, color repro.

1944: Frankfurter, Alfred M. The Kress Collection in the National Gallery. New York, 1944: 27, repro.

1945: Paintings and Sculpture from the Kress Collection. National Gallery of Art, Washington, 1945 (reprinted 1947, 1949): 28, repro.

1951: Einstein, Lewis. Looking at Italian Pictures in the National Gallery of Art. Washington, 1951: 39-41, repro.

1959: Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 59, repro.

1959: Shapley, Fern Rusk. Early Italian Painting in the National Gallery of Art. Washington, D.C., 1959 (Booklet Number Three in Ten Schools of Painting in the National Gallery of Art, Washington, D.C.): 28, color repro.

1960: Newton, Eric. The Arts of Man. Greenwich, Connecticut, 1960: 103-104, repro.

1960: The National Gallery of Art and Its Collections. Foreword by Perry B. Cott and notes by Otto Stelzer. National Gallery of Art, Washington (undated, 1960s): 10, as St. John in the Wilderness.

1961: Walker, John, Guy Emerson, and Charles Seymour. Art Treasures for America: An Anthology of Paintings & Sculpture in the Samuel H. Kress Collection. London, 1961: 34-35, color repro. pl. 28.

1963: Berenson, Bernard. Italian Pictures of the Renaissance. Florentine School. 2 vols. London, 1963: 1:62.

1963: Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 78, repro.

1965: Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 42.

1966: Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1:34, color repro.

1966: Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XIII-XV Century. London, 1966: 103-104, fig. 280.

1968: Gandolfo, Giampaolo et al. National Gallery of Art, Washington. Great Museums of the World. New York, 1968: 26-27, color repro.

1968: National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 35, repro.

1974: Pesenti, Franco Renzo. "Dismembered works of art - Italian painting." In An Illustrated Inventory of Famous Dismembered Works of Art: European Painting. Paris, 1974: 22, 36-37, repro.

1975: European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 108, repro.

1979: Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: 1:159-162; 2:pl. 114.

1979: Watson, Ross. The National Gallery of Art, Washington. New York, 1979: 22, pl.7.

1984: Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 88, no. 47, color repro.

1985: European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 131, repro.

1990: De Marchi, Andrea. “Domenico Veneziano.” In Luciano Bellosi, ed. Pittura di luce. Giovanni di Francesco e l’arte fiorentina di metà Quattrocento. Exh. cat. Casa Buonarroti, Florence, 1990: 67.

1992: National Gallery of Art, Washington. National Gallery of Art, Washington, 1992: 16, repro.

1992: Pons, Nicoletta. "Domenico Veneziano." In Saur. Allgemeines Künstler-Lexikon. Die Bildenden Künstler aller Zeiten und Völker. Munich and Leipzig, 119 vols. Munich and Leipzig, 1992-2023: 28(2001):408.

1993: Gagliardi, Jacques. La conquête de la peinture: L’Europe des ateliers du XIIIe au XVe siècle. Paris, 1993: 374-375, fig. 434.

1997: Fulton, Christopher. "The Boy Stripped Bare by His Elders: Art and Adolescence in Renaissance Florence." Art Journal 56, 2 (Summer 1997): 33, fig. 3.

2003: Boskovits, Miklós, and David Alan Brown, et al. Italian Paintings of the Fifteenth Century. The Systematic Catalogue of the National Gallery of Art. Washington, D.C., 2003: 241-250, color repro.

2003: Gregori, Mina, ed. In the Light of Apollo: Italian Renaissance and Greece. 2 vols. Exh. cat. National Gallery and Alexandros Souzos Museum, Athens, 2003-2004: 1:185, 186 fig. 4.

2004: Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 22-23, no. 16, color repro.

2010: Rowley, Neville. “Pittura di luce: La manière claire dans la peinture du Quattrocento.” Ph.D. Diss., Université Paris-Sorbonne, 2010: 145 n. 549, fig. 22

2012: Natali, Antonio, Enrica Neri Lusanna, and Angelo Tartuferi, eds. Bagliori dorati: Il Gotico Internazionale a Firenze 1375-1440. Exh. cat. Galleria degli Uffizi, Florence, 2012: 308.

2013: "Vasari and the National Gallery of Art." National Gallery of Art Bulletin 48 (Spring 2013): 6, repro.

2017: Valeri, Stefano. Quattrocento pittorico centroitaliano. Fra Carnevale, tre camerinesi e un Piero della Francesca. Rome, 2017: 101-102, fig. 41.