03 — ARTWORK
St Jerome in His Study
- MEDIUM
- Tempera on wood, 88 x 52 cm
- TYPE
- Religious
PALETTE
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- FILE
- 876 × 1400 px · JPEG
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
This panelTerm in painting for a support of wood, metal, or other rigid substance, as distinct from canvas. Until the adoption of canvas in the 15th century nearly all the movable paintings of Europe were executed on wood, and even up to the beginning of the 17th century it is probable that as much painting was done on the one support as on the other. Painters who worked on a small scale often used copper panels (Elsheimer is a leading example), and in the colonial art of South America copper and tin and even lead and zinc were used. On a larger scale, slate has occasionally been used as a support, notably by Rubens for his altarpiece for Sta Maria in Vallicella (the Chiesa Nuova) in Rome; the picture he originally painted was said to reflect the light unpleasantly and slate was used for the replacement to produce a more matt finish. For wood panels the Italian masters of the Renaissance preferred white poplar, while oak was the most common wood used in northern Europe. Many other types were used, however; analysis of the contents of art galleries has yielded a long list, including beech, cedar, chestnut, fir, larch, linden, mahogany, olive, and walnut. In the 20th century cedar, teak, and dark walnut are favourites, and modern painters have also used plywood, fibre-board, and other synthetic materials as supports. was intended for devotional use in a home or a monastic institution. The subject of St Jerome in his study was an autonomous one in the mid-fifteenth century in Flemish art. In accordance with Flemish practice, Antonio da Fabriano painted his name "antonio de fabr[ian]o" on a fictive cartellinoIn a painting, a simulated piece of paper that carries an inscription bearing the artist's signature, the date of the painting, details of the subject, or a motto. on the bottom of the frame, which is original.
Antonio makes the domestic description of Jerome's study humbler and more real through such details as the veining and knots in the wood, the cardinal's hat hanging from a nail, and the small crucifix affixed to the keystone of a brick archway. There is a still-life of books randomly scattered on shelves together with a candlestick and an hourglass. Antonio's Flemish tendencies could be the result of a journey to Naples or Genoa in the 1440s,
CITE THIS RECORD — BIBTEX
@online{wga-rc60c69ad39da4e,
author = {Krén, Emil and Marx, Daniel},
title = {St Jerome in His Study by ANTONIO DA FABRIANO},
organization = {{Web Gallery of Art}},
date = {2026-09-13},
url = {https://beta.wga.hu/artists/antonio-da-fabriano-r22aec45d94818e/st-jerome-in-his-study-rc60c69ad39da4e},
urldate = {2026-09-13},
langid = {english}
}ACCESSED 2026-09-13. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
OTHER WORKS BY ANTONIO DA FABRIANO
The archive catalogues no further works by this artist.
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