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St Jerome
1640 · Oil on canvas · Harvard Art Museums
For Saint Jerome · 30 September
Sizes
image 14.5×17.9 in on a 16×20 in sheet
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Dots per inch: how many pixels of the museum’s file go into each inch of paper. Our floor is 240 for sheets up to 20 inches, 180 up to 36 inches and 120 beyond, because a larger print is seen from further away. We never offer a sheet below the floor, and the number on each size is the one you receive.
Hahnemühle Photo Rag, 308 gsm cotton rag · pigment inks · printed to order · sold unframed
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All editionsAbout this painting
An old man's hand closes on a stone that still rests on the ledge. Harvard reads it as the stone with which Jerome would violently beat his breast, the self-abuse sharpened by the muscular tension in his right arm against the worn, wrinkled skin elsewhere on the aged body. Bernardo De Dominici wrote that Jusepe de Ribera procured old, decrepit men to paint from. The skull cradled in his other arm, the museum says, stands for the transience of human existence, and the flesh that holds it is going the same way. The red cloth is a cardinal's, an office that did not exist in Jerome's lifetime: honour paid by a later Church. His eyes turn up and away from all of it. The stone stays under his hand.
Sources: Harvard Art Museums, object 1920.7, Jusepe de Ribera, Saint Jerome, 1640, oil on canvas, 128 x 101.3 cm · Edward Payne, "Ribera's Saint Jerome," Open Arts Journal, Special Issue: Baroque Naples (2017-18) · National Gallery, London, 'Saint Jerome as Cardinal', possibly by El Greco, 1590-1600, collection page · Bernardo De Dominici, Vite dei pittori, scultori ed architetti napoletani ([1742-5] 1840-6), vol. 3, p. 137, quoted and translated in Edward Payne, 'Naples in Flesh and Bones: Ribera's Drunken Silenus and Saint Jerome', Open Arts Journal 6 (Winter 2017/18), p. 109