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St Serapion
1628 · Wadsworth Atheneum Museum of Art, Hartford
Sizes
image 9.5×10.9 in on a 11×14 in sheet
The museum’s file supports 11×14 in at 330 dpi; a larger sheet would fall below our floor.
What is dpi?
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
Printed to order · the whole painting, never cropped · if it arrives damaged, we replace it
Shipping included in the price to the eight countries we ship to · dispatched in 2–4 working days · replaced if it arrives damaged, nothing to send back.
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All editionsAbout this painting
A friar hangs by his wrists, tied with rope to something we cannot see, and his head has fallen onto his shoulder. His eyes are closed. There is no blood. Zurbarán painted Serapion in 1628, Jeannine Baticle records, for the Sala de Profundis of the Mercedarian house in Seville, the room where dead friars were laid out before burial. The Mercedarians took a fourth vow, to give themselves up as hostages for Christians held captive, and Serapion kept it to death. The painter Eric Aho notes that the white habit hides the violence done to him, and that the order's badge on his breast is Zurbarán's one gesture of colour. A small paper pinned beside him names him, Baticle says, Blessed Serapius; he was canonised in 1728. The white keeps its silence. The badge speaks for him.
Sources: Jeannine Baticle, Zurbaran, Metropolitan Museum of Art, 1987, cat. 5 · the fourth vow, in the order’s own words · conservation, acquisition 1951 · Eric Aho, 'Martyr and Maker: A Painter in Front of Zurbarán's Saint Serapion', Image, issue 126