130:, their primary argument being that the attack takes place in the air which parallels with St. Anthony's description of ecstasy in this chapter. Chapter 65 tells the tale of when St. Anthony was about to eat dinner and suddenly felt himself carried off as if he was outside of his body. Undefined beings stood in his way preventing him from ascending and "as his guides offered resistance, the others demanded on what plea he was not accountable to them…. Then as they brought accusations but could not prove them, the way was opened up to him free and unhindered and presently he saw himself approaching so it seemed to him and halting with himself and so he was the real Anthony again." This chapter emphasizes the difference between good and bad spirits then goes on to talk about the devil and how many battles one must pass through the air in order to achieve celestial ascent.
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22:
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which owns a copy of the print describes the hermit's ascent: "the rigorous asceticism practiced by St
Anthony in the Egyptian desert allowed him to levitate in the air, where he was attacked by devils trying to beat him to the ground," and soon after the creatures were driven away by the apparitions
109:
The vast amount of negative space in the background accentuates St. Anthony's vulnerability while the curving and horizontal lines of the devils add energy and movement. The grotesque devils are illustrated with a mixture of body parts from different animals. Schongauer's mastery of texture is shown
198:
one can identify the date of the print by
Schongauer's monogram. The image is one of the artist's early works. In his first ten prints his monogram is characterized by the M having vertical shanks, as opposed to the oblique shanks which appear in the rest of his prints after. The S in his earlier
168:
records when the saint was living in a cave in Egypt when the devil attacked him and left him half-dead. A friend found him and helped him recover and once St. Anthony had regained consciousness he asked to be sent back to fight these demons who took the shape of animals and beasts. The
110:
by giving the viewer a sense of how each beast would feel ranging from the roughness of the scales to the soft hairiness of the fur. The heavily worked foreground is balanced by progressively more isolated lines in the background, showing his control of light.
105:
can be seen in the hermit's drapery and in the texture of the devils. Contour hatching can also be seen in the drapery of the monk as well as on the battered crags in the right hand corner. Tick hatching is seen in sky which indicates the atmosphere.
199:
works is much thicker around the curves and finishes in diagonal strokes similar to roman capitals. This trait is seen in more than his first ten works but seems to decrease in his later works. It is hypothesized that
Schongauer used a
121:
depicts no real landscape besides a battered crag in the right hand corner leaving room for debate on what exact moment in the life of St. Anthony this scene depicts. Some scholars believe the scene depicts chapter 65 of
97:, Schongauer's engraving technique forms the image from dots, lines and areas of hatching, varying spaces between them in order to enhance the interaction of white and black. The engraving exists in two
817:
325:
77:, where the hermit has a vision of himself floating through the air and undefined beings prevent him from ascending back to reality or it could show the ninth chapter of Athanasius's
57:, bursting with movement and energy as the saint calmly resists their temptations or blows. St. Anthony is shown with some of his signature attributes, dressed in a monk's
802:
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81:, where St. Anthony is attacked by the devil in the form of animals and beasts in the Egyptian desert and is levitated in the air by his practice of rigorous
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695:"Katharina von Siena, Heinrich Seuse, Martin Schongauer und die Bilder der Observanzbewegung in der polnischen Dominikanerprovinz - OpenBibArt"
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hanging from his belt. The literary source from which this image derives is debated. The image could depict chapter 65 from
Athanasius's
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of Christ. Texts that describe the attack provide few descriptive details, leaving room for artistic expression. In the
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260:. For a more complete list of known prints of this engraving see the Schongauer catalogue originally by
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In addition, this engraving has served as inspiration for later paintings on the same episode, such as
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604:(1984). "Schongauer's 'Tribulations of St Anthony': Its Iconography and Influence on German Art".
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229:. Some claim this painting is by Michelangelo, though there is no evidence for that attribution.
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in his first ten engravings, which he later lost and began hand writing his monogram thereafter.
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Christian Heck (1996). "The Vision of St
Anthony on a Thebaid Panel at Christ Church, Oxford".
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describes the devils as animals that attacked the saint with horns, claws and teeth.
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Martin
Schongauer; The Complete Engravings; A catalogue raisonné; Revised edition
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82:
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42:
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Some scholars argue the image instead depicts chapter nine of
Athanasius's
665:
Karp, Diane (1984). "Madness, Mania, Melancholy: The Artist as
Observer".
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Schongauer was the first artist to sign all of his prints with a
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630:(1965). "Die Zeichnungen Martin Schongauers by Franz Winzinger".
475:"The Temptation of Saint Anthony | The Art Institute of Chicago"
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654:, # 37, 1967, National Gallery of Art (Catalogue), LOC 67-29080
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with only minor details added to the second. Parallel and fine
407:"At the Metropolitan Museum of Art: A Leap of the Imagination"
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is a copy of the engraving currently in the collection of the
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This etching inspired many artists after
Schongauer including
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The prints can be found for example in the collection of the
215:, who as a boy painted a copy of the engraving, according to
499:"St. Anthony Tormented by Demons – Objects - RISD MUSEUM"
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Collection of the Rhode Island School of Design Museum
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Lewis, Richard L.; Lewis, Susan
Ingalls (2008-01-23).
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Gardner's Art Through the Ages: V. 2: A Global History
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Saint Anthony Tormented by Demons Martin Schongauer.
240:, where the same scene is shown in the upper right.
578:Fritz Koreny (1993). "Notes on Martin Schongauer".
439:"The Torment of Saint Anthony | Kimbell Art Museum"
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652:Fifteenth Century Engravings of Northern Europe
543:Journal of the Warburg and Courtauld Institutes
53:. In it, grotesque demons swarm around Saint
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463:"Texas Museum Acquires Disputed Michelangelo"
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803:Cultural depictions of Anthony the Great
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526:. San Francisco: Alan Wolfsy fine arts.
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258:Rhode Island School of Design Museum
667:Philadelphia Museum of Art Bulletin
45:, probably created c. 1470–75, by
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359:www.historia-del-arte-erotico.com
51:popular scene in 15th-century art
381:Michelangelo: 240 Colour Plates
378:Peitcheva, Maria (2016-03-22).
405:Cotter, Holland (2009-06-18).
16:Engraving by Martin Schongauer
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234:The Temptation of St. Anthony
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119:The Temptation of St. Anthony
95:The Temptation of St. Anthony
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143:The Torment of Saint Anthony
26:The Temptation of St Anthony
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250:Metropolitan Museum of Art
65:, carrying a staff with a
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355:"Miguel Ángel Buonarroti"
254:Art Institute of Chicago
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813:15th-century engravings
741:Kleiner (2008-02-01).
238:Jan Brueghel the Elder
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186:Schongauer's monogram
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69:handle and his bound
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768:. Cengage Learning.
602:Jean Michel Massing
522:Lehrs, Max (2005).
384:. Maria Peitcheva.
319:Martin Schongauer,
306:Koreny 1993, p. 385
180:Jacobus de Voragine
162:Life of St. Anthony
128:Life of St. Anthony
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75:Life of St. Anthony
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443:www.kimbellart.org
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164:. In chapter nine
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448:2017-05-16
424:2017-05-16
364:2017-05-16
166:Athanasius
124:Athanasius
83:asceticism
67:tau-shaped
571:195021815
419:0362-4331
262:Max Lehrs
89:Technique
43:engraving
620:41823641
594:41825159
326:Archived
280:Shestack
192:monogram
49:of this
687:3795418
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