Art Institute of Chicago
The Death of St. Peter Martyr
Giovanni Girolamo Savoldo (Italian, active 1506–1548)LinkedCulture matchlcp-2118c129212f
- Date
- 1530–35
- Medium
- Oil on canvas
- Culture
- Italy
- Department
- Painting and Sculpture of Europe
- Institution
- Art Institute of Chicago
- Object ID
- 158137
From the Art Institute of Chicago record
Here, Giovanni Girolamo Savoldo depicted the final moments in the life of Saint Peter Martyr, a 13th-century Dominican friar who was murdered by Cathar heretics whom he wished to reconvert to Catholicism. By choosing a three-quarter-length format, Savoldo focused attention on the contrasting emotional states of the serenely resigned saint and his elegantly brutish assailant. Savoldo lived in Venice but had ties to the city of Brescia in nearby Lombardy. He created a darkly poetic style by investing the Lombard artistic tradition of literal realism with the rich textural and atmospheric effects of Titian and other Venetian painters.
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Provenance & credit
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- Credit line
- Lacy Armour Endowment
- Provenance
- Possibly John Talbot (died 1852), 16th Earl of Shrewsbury, Alton Towers, Staffordshire, by 1835, if the painting is to be identified with the “Death of Peter Martyr” by Pordenone mentioned by Gustav Friedrich Waagen, “Letter XXVIII,” in Works of art and artists in England, vol. 3 (London: J. Murray, 1838), p. 251, recording his visit to Alton Towers in 1835, or the “Peter Martyr” by Titian mentioned by Ebenezer Rhodes, The Derbyshire tourist’s guide and travelling companion… to which is added, the detail of an excursion from Dove-Dale to Ilam Hall, and Alton Towers (London: R. Goombridge, 1837), p. 271 [for the likelihood of ownership by Shrewsbury, see Gilbert 2003]; possibly by descent in the Talbot family, with a member of the family giving it to St. Alban’s Roman Catholic Church, Macclesfield, Cheshire; St. Alban’s Roman Catholic Church, Macclesfield, Cheshire, probably by 1900, but certainly by 1930 [according to letter of July 11, 2001, from John Tomasso to Nicholas Hall, copy in curatorial file]; sold to Tomasso Brothers Fine Art, Leeds, by 1990 [according to letter of June 21, 2000, from Nicholas Hall to Larry Feinberg and e-mail correspondence of February 29, 2016, between Kelli Sohanpaul and Amanda Block; copies in curatorial file]; sold by Hall and Knight, London and New York, on behalf of Tomasso Brothers; to the Art Institute of Chicago, 2001.
Linked open data
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- Object type
- AAT300033618
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