
Saint Anthony, a Christian hermit, gave his wealth to the poor when he was a young man. Living in solitude, he devoted himself to prayer but was tormented by the Devil in the form of demons and evil spirits. Giovanni Girolamo Savoldo shows Saint Anthony with his hands clasped in prayer, fleeing from a dark, hellish vision into a pastoral landscape bathed in warm daylight. Like other northern Italian painters of the time, Savoldo was interested in Flemish painting, which was well known in Venice, particularly Hieronymous Bosch's nightmarish monsters, which influenced his depiction of Saint Anthony's tormentors. As the saint flees, his hands point to a monastery, a reminder that he was the father of monasticism.
Waltham, Mass., The Rose Art Museum, Brandeis University, 1963, Major Masters of the Renaissance, cat. by Creighton Gilbert, pp. 23-24, no. 16, ill.
Antonio Boschetto, Giovan Gerolamo Savoldo (Milan, 1963), text opposit pls. 16/17, pls. 14-18; Agnes Mongan and Elizabeth Mongan,
European Paintings in the Timken Art Gallery (San Diego, 1969), pp. 32-33. 110-11, no. 8, ill.; Burton Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Mass., 1972), pp. 184, 373, 632; Michael A. Jacobsen, "Savoldo and Northern Art," Art Bulletin 56 (December 1974): 530-34; Martin E. Petersen, ''Three Centuries of European Paintings, 1300-1600," Apollo 115 (June 1982): 445, fig. 9; Timken Art Gallery: European and American Works of Art in the Putnam Foundation Collection (San Diego, 1983), pp. 76-77,123-24, no. 29, ill; Pittura del cinquecento a Brescia (Milan, 1986), p. 176, no. 29; Creighton E. Gilbert, The Works of Girolamo Salvoldo: The 1955 Dissertation, with a Review of Research, 1955-1985, Outstanding Dissertations in the Fine Arts (New York, 1986), p. 521, no. .36bis; Giovanni Gerolamo Savoldo, tra Foppa, Giorgione e Caravaggio, exh. cat., Milan, Monasterio di Santa Giulia, and Frankfurt- am-Main, Schirn Kunsthalle (Milan, 1990), pp. 32, 71, 154, ill. p. 30.
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