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238:
The scene in the foreground shows St. George on a stark white horse, about to defeat the dragon by stabbing it with his lance. St. George is depicted in black armor with a halo above his head. The saint's expression appears calm and stoic in contrast to the dragon's, which seems angry and excited.
250:
In the style typical of
International Gothic works, the ground rises steeply behind the scene but, unusually, it does not stretch behind the entire painting. Rather, there is a clear separation between the foreground and the background. While the background maintains the decorative nature and
247:, with a large golden crown above her red-golden hair. In the distance, on the other side of a valley, the princess' parents and common people can be seen to be watching apprehensively from atop a castle. The castle is surrounded by a serene and intricate countryside.
254:
The main axis of the composition can be placed by the shaft of St. George's lance and an imaginary vertical line drawn through the eyes of the dragon, the horse, and the princess. The two lines create a "V" shape that outlines the castle in the background.
410:
Mary Faith
Mitchell Grizzard, “Bernardo Martorell: Fifteenth-Century Catalan Artist,” Ph.D. diss., University of Michigan, 1978 (New York and London, 1985), pp. 185–201, 445–46, figs. 11, 19.
243:. The ground is shown to be littered with lizards, skulls, and other bones. In the immediate background, the princess stands praying behind them; she is dressed in a pink robe lined with
215:
by
Deering. Then, in 1924, the painting went to Deering's daughters, Marion Deering-McCormick and Barbara Deering-Danielson, who donated the work to the Art Institute of Chicago in 1933.
558:
462:
586:
235:, Spain, during the first half of the 15th century. The painting was initially made as the centerpiece of an altar, and was surrounded by four, smaller, narrative panels.
440:
Justin E.A. Kroesen, Staging the
Liturgy: The Medieval Altarpiece in the Iberian Peninsula, Leuven, Paris and Walpole, Massachusetts, 2009, pp. 82–83, fig. 58.
350:
The Art
Institute of Chicago, A Picture Book: Masterpieces of Painting, XV and XVI Centuries in the Collections of The Art Institute of Chicago, 1946, pp. 2–5.
325:
Hans Tietze, Meisterwerke europäische
Malerei in Amerika, Vienna, 1935, p. 307, pl. 9 (Eng. ed., Masterpieces of European Painting in America, New York, 1939).
437:
Judith Berg Sobré in Martha Wolff et al., Northern
European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 78–86, ill.
434:
Larry J. Feinberg, “A Brief
History of the Old Masters in the Art Institute of Chicago,” Art Institute of Chicago Museum Studies 32, 2 (2006), p. 12, fig. 6.
211:
Starting in 1867, the painting changed hands numerous times until it was eventually sold to
Charles Deering in 1917. In 1921, the painting was loaned to the
24:
591:
48:
200:. The four side-panels that would likely have also been fixed to the altar, depict the martyrdom of St. George, and are currently on display in the
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continuity of color typical of
International Gothic backgrounds, the foreground is more expressive, and contains gradations of color and lighting.
239:
The dragon has dark-green scales, is winged, and has red eyes. The dragon's scales, and the armor and halo on St. George are decorated with raised
419:
Judith Berg Sobré, Behind the Altar Table: The Development of the Painted Retable in Spain, 1350–1500, Columbia, Mo., 1989, p. 91, fig. 48.
383:
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, pp. 95 (ill.), 296.
596:
193:
386:
Renzo Chiarelli, Margherita Lenzini Moriondo, and Franco Mazzini, European Painting in the 15th Century, New York, 1961, pp. 19, 222.
413:
Mary Grizzard, “An Identification of Martorell’s Commission for the Aragonese Corts,” Art Bulletin 64 (1982), pp. 312–13, fig. 3.
404:
Marian Burleigh, “The ‘Triumph of Death’ in Palermo,” Marsyas: Studies in the History of Art 15 (1970–71), pp. 54–55, pl. 22, fig. 15.
359:
Stephen V. Grancsay, “The Interrelationships of Costume and Armor,” Metropolitan Museum of Art Bulletin 8 (1950), p. 181 (ill.).
289:
Walter Dill Scott and Robert B. Harshe, Charles Deering, 1852–1927: An Appreciation, Boston, 1929, p. 51 (ill. opp. p. 50).
374:
The Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, 1956, pp. 28–29 (ill.).
292:
Chandler Rathfon Post, A History of Spanish Painting, vol. 2, Cambridge, Mass., 1930, pp. 393–98, 414–15, 424, 442, fig. 223.
353:
The Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, 1948, p. 28 (ill.).
347:
The Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, 1945, p. 32 (ill.).
341:
Regina Shoolman and Charles E. Slatkin, !e Enjoyment of Art in America, Philadelphia and New York, 1942, p. 463, pl. 404.
271:
R B. H, “Saint George Combating the Dragon,” Bulletin of the Art Institute of Chicago 16 (1922), pp. 18–21 (cover ill.).
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Everard M. Upjohn, Paul S. Wingert, and Jane Gaston Mahler, History of World Art, New York, 1949, pp. 166–67, fig. 172.
280:
Paula Pope Miller, review of Roosval, Nya Sankt Gorans Studier, in Art Bulletin 9 (1926–27), pp. 163–64, figs. 1, 3, 4.
362:
Jacques Lassaigne, Spanish Painting from the Catalan Frescos to El Greco, trans. Stuart Gilbert, Geneva, 1952, p. 129.
601:
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The painting was likely commissioned by the Catalonian government as an altarpiece for the Chapel of St. George, in the
228:
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319:
Chandler Rathfon Post, A History of Spanish Painting, vol. 7, Cambridge, Mass., 1938, pp. 60, 120, 204–05, 669.
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338:
Chandler Rathfon Post, A History of Spanish Painting, vol. 8, Cambridge, Mass., 1941, pp. 618, 622, 624, 628.
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The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1925, p. 169, no. 2289.
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Oskar Hagen, Patterns and Principles of Spanish Art, rev. ed., Madison, Wis., 1943, pp. 113–15, fig. 39.
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425:
Santiago Alcolea Blanch, “Martorell, Bernat,” in Dictionary of Art, vol. 20, 1996, p. 514, fig. 1.
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Eric Young, “Medieval Painting in Spain: Progress and Problems,” Apollo 79 (1964), p. 12, fig. 2.
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August L. Mayer, Historia de la pintura española, Madrid, 1928, p. 47; 2nd ed., 1942, p. 98.
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Art Institute of Chicago, Master Paintings in The Art Institute of Chicago, 1988, p. 13 (ill.).
316:
The Art Institute of Chicago, A Brief Illustrated Guide to the Collections, 1935, p. 24 (ill.).
307:
Jane M. Wilson, “Once in a Lifetime: The Art of Five Centuries and a Dozen Schools under One Roof,”
494:
377:
Chandler Rathfon Post, A History of Spanish Painting, vol. 12, Cambridge, Mass., 1958, p. 249.
431:
M W, in Art Institute of Chicago Museum Studies 30, 2 (2004), pp. 79–80, no. 54 (cover ill.).
274:
Georgiana Goddard King, “The Rider on the White Horse,” Art Bulletin 5 (1922), p. 6, fig. 10.
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365:“Chicago’s Fabulous Collectors: Art Institute Announces it will Get Treasures from their Homes,”
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F J Mather, Western European Painting of the Renaissance, New York, 1939, p. 222, fig. 128.
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J M Pita Andrade, Treasures of Spain, trans. Isabel Quigly, vol. 1, Geneva, 1967, p. 193.
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The Art Institute of Chicago, A Brief Illustrated Guide to the Collections, 1941, p. 30.
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Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84 (1966), p. 204, 207, fig. 41.
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Gabriel Rouchès, La Peinture espagnole: Le Moyen Âge, Paris, 1929, pp. 65, 138–40.
268:“An Altar Panel by Benito Martorell,” International Studio 76, 305 (1922), p. 59.
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19:
This article is about the painting by Bernat Martorell. For the medieval legend, see
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155.6 cm × 98.1 cm (61.25 in × 38.625 in)
99:
422:
Joan Ainaud de Lasarte, Catalan Painting, vol. 2, New York, 1990, pp. 78–80.
265:
Marcel Dieulafoy, Art in Spain and Portugal, London, 1913, p. 175, fig. 347.
463:"Saint George Killing the Dragon - Bernat Martorell (Spanish, about 1400–1452)"
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Stora Spanska Mästare, exh. cat., Stockholm, Nationalmuseum, 1959, p. 41.
428:
Audrey Niffenegger, The Time Traveler's Wife, New York, 2003, pp. 48–49.
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in which the Christian knight, St. George, rescues a princess from a dragon.
232:
197:
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298:, A History of Sienese Painting, New York, 1932, pp. 107–8, fig. 115.
208:. The painting was most probably painted some time between 1434 and 1435.
401:
John Maxon, The Art Institute of Chicago, London, 1970, pp. 27–28.
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407:
Art Institute of Chicago, 100 Masterpieces, 1978, p. 40, no. 3 (ill.).
389:
José Gudiol, The Arts of Spain, Garden City, N.Y., 1964, p. 153.
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B Rowland, Jaume Huguet, Cambridge, Mass., 1932, p. 23.
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Art Institute of Chicago, Annual Report, 1933, p. 34.
525:"Saint George Killing the Dragon by MARTORELL, Bernat"
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35:Saint George Killing the Dragon
194:Government Palace of Catalonia
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495:"Saint George and the Dragon"
371:(October 27, 1952): 91 (ill).
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136:The Art Institute of Chicago
16:Painting by Bernat Martorell
597:Saint George and the Dragon
158:Saint George and the Dragon
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41:Saint George and the Dragon
21:Saint George and the Dragon
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467:Google Arts & Culture
182:St. George and the Dragon
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499:Art Institute of Chicago
313:16 (1933), pp. 3–4.
213:Art Institute of Chicago
123:Art Institute of Chicago
165:by the Catalan artist
23:. For other uses, see
229:Saint George's legend
223:The work, painted in
602:Paintings of dragons
563:at Wikimedia Commons
333:Toledo Museum of Art
296:George Harold Edgell
225:International Gothic
105:International Gothic
607:Religious paintings
529:Web Gallery of Art
310:Delphian Quarterly
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571:Categories
446:References
245:ermine fur
176: – c.
169:, painted
111:Dimensions
81: – c.
233:Catalonia
198:Barcelona
141:Accession
144:1933.786
119:Location
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188:History
127:Chicago
534:25 May
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472:25 May
241:stucco
89:Medium
62:Artist
206:Paris
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