Paper

Student Artwork Guide

St Maurice and the Angel

Name Class Date

Bernardo Strozzi, St Maurice and the Angel (1640), Hermitage Museum. Public domain.

The facts

Artist
Bernardo Strozzi originaluniqueart.com/en/artists/bernardo-strozzi/
Artist’s dates
1581 – 1644
Painted
1640
Medium
Oil On Canvas
Original size
82 x 101 cm
Movement
Venetian Baroque
Period
Early Modern
Held at
Hermitage Museum originaluniqueart.com/en/museums/hermitage-museum-saint-petersburg/
Artistic style
Naturalism
Influences
Cesare Corte, Pietro Sorri
Notable elements or techniques
Glowing color and energetic brushstrokes
Subject or theme
Religious Painting

In context

St Maurice and the Angel — Bernardo Strozzi

How big is it?

The original measures 82 × 101 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1580
  2. 1590
  3. 1600
  4. 1610
  5. 1620
  6. 1630
  7. 1640

Shaded: the lifetime of Bernardo Strozzi (1581–1644) ▲ this work, 1640

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/bernardo-strozzi-st-maurice-and-the-angel-8BWNMV-en/

Colours

Measured from the image

    Main colour

    Walnut #805b27

    Catalogued palette

    • #805B27
    • #1F0E0A
    • #BF853A
    • #4D2810
    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Walnut
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    About this artwork

    St Maurice and the Angel — Bernardo Strozzi

    St Maurice and the Angel – A Venetian Baroque Masterpiece

    Bernardo Strozzi’s “St Maurice and the Angel,” painted in 1635, stands as a testament to the flourishing artistic spirit of Venice during its Golden Age. This monumental canvas embodies the baroque style's dramatic flair and masterful use of color—a visual feast that continues to captivate viewers centuries later.

    Subject Matter & Narrative

    The painting depicts Saint Maurice, a Roman soldier revered for his unwavering faith and leadership, accompanied by an angelic figure. Tradition recounts that Maurice rallied a legion of soldiers who refused to participate in pagan rituals during Diocletian’s persecution of Christians. The scene portrays them standing before what appears to be a fortified wall—likely symbolizing the protection afforded by divine grace amidst adversity.

    Style & Technique – Venetian Baroque at Its Finest

    Strozzi's approach aligns perfectly with the Venetian baroque tradition, championed by artists like Titian and Tintoretto. He employs a rich palette of luminous colors—deep reds, blues, and golds—creating an atmosphere of palpable emotion. The brushstrokes are broad and energetic, conveying movement and dynamism while simultaneously achieving remarkable textural detail. Strozzi’s meticulous attention to light and shadow contributes significantly to the painting's dramatic impact.

    Historical Context & Patronage

    Venice in the mid-17th century was a hub of artistic innovation and papal patronage. Francesco Erizzo, the Doge (ruler) at the time, commissioned Strozzi’s “St Maurice and the Angel,” recognizing his exceptional talent and aligning with the Venetian elite's desire to adorn their palaces and churches with masterpieces reflecting spiritual contemplation.

    Symbolism & Emotional Resonance

    The angel represents divine guidance and purity—a counterpoint to Maurice’s earthly strength. The fortified wall symbolizes resilience and faith, emphasizing the saints’ unwavering devotion in the face of persecution. Strozzi's masterful depiction captures not only a biblical narrative but also the profound emotional depth characteristic of baroque art: courage, piety, and hope for salvation.

    Location & Reproduction

    "St Maurice and the Angel" resides in the Hermitage Museum in Saint Petersburg, Russia—a testament to its enduring artistic significance. High-quality reproductions are available from ArtsDot.com offering collectors and interior designers alike a chance to experience this iconic artwork firsthand.

    Artist and museum

    Artist

    Bernardo Strozzi

    Born in Genoa, Italy

    early life and training

    bernardo strozzi, also known as il cappuccino and il prete genovese, was a prominent italian baroque painter and engraver born in 1581 in genoa, italy. his early training took place in the workshop of cesare corte, a minor genoese painter, under whose guidance strozzi developed his skills until 1596. he then joined the workshop of pietro sorri, an innovative sienese painter, who led strozzi towards a more naturalistic style.

    artistic career

    strozzi's career can be divided into two main periods: his early years in genoa and his later work in venice. in genoa, he worked on various projects, including the frescoes in the choir of the san domenico church, commissioned by members of the doria family.

    key works:

    the vision of saint dominic (paradise) ( preparatory oil bozzetto for the vault, located at the museo dell’accademia ligustica in genoa)

    portrait of doge francesco erizzo (painted soon after his arrival in venice)

    influence and legacy

    strozzi's powerful art, characterized by rich colors and broad brushstrokes, had a significant impact on the artistic developments in both genoa and venice. he is considered one of the principal founders of the venetian baroque style.

    notable patrons:

    doge francesco erizzo

    catholic cardinal and patriarch of venice federico baldissera

    prominent venetian artists, including claudio monteverdi and barbara strozzi

    later life and death

    strozzi's later years were marked by his work as an engineer. he died in venice in 1644, leaving behind a legacy as a versatile and prolific artist. view more works by bernardo strozzi on AllPaintingsStore: [https://AllPaintingsStore.com/@/bernardo-strozzi](https://AllPaintingsStore.com/@/bernardo-strozzi) explore the pinacoteca di vicenza, italy, featuring works from various periods and styles: /en/art/show/art-d3afpd-en/

    Museum

    Hermitage Museum

    On show in Saint Petersburg, Russia

    A Frozen Palace: Unveiling the Treasures of the Hermitage

    The State Hermitage Museum in Saint Petersburg isn’t merely a repository of art; it's an immersive journey through time, a testament to Russia’s imperial ambitions and its enduring artistic legacy. Nestled within the opulent Winter Palace – once the very heart of Tsarist power – the museum unfolds like a meticulously crafted narrative, revealing layers of history, culture, and breathtaking beauty. Founded by Catherine the Great in 1764 with a single painting as its nucleus, it has blossomed into one of the world’s largest and most comprehensive museums, housing over three million objects spanning millennia and continents. More than just a collection, the Hermitage is an architectural marvel, a series of interconnected historic buildings – including the Winter Palace itself, the Small Hermitage, the Old Hermitage, the New Hermitage, and the General Staff Building – each contributing uniquely to its grand story.

    From Tsarist Dreams to Artistic Legacy

    Catherine’s initial acquisition, a modest collection of Western European paintings, laid the foundation for what would become an unparalleled artistic treasure. This early focus on European art reflected her enlightened ideals and desire to expose Russia to the best of continental culture. The Winter Palace's origins trace back to Peter the Great’s vision for a grand, western-style capital city. Initially conceived as a residence, its transformation into the museum’s central hall speaks volumes about Russia’s evolving relationship with Europe and its embrace of artistic innovation. The Hermitage's story is inextricably linked to Russian history, adapting and reflecting the changing tastes and ambitions of successive rulers – a layered narrative palpable as you wander through its galleries. From Napoleon’s invasion to the Soviet era, the museum has endured, safeguarding Russia’s artistic heritage for generations.

    Renaissance Reveries and Dutch Delights: Cornerstones of Artistic Brilliance

    Stepping into the Renaissance galleries is akin to entering a world reborn – a period defined by a renewed interest in classical antiquity and an embrace of human potential. Immediately captivating is Nicolas Poussin’s

    The Holy Family with St. Elizabeth and John the Baptist

    , a serene depiction of familial piety and spiritual contemplation. Notice how Poussin masterfully blends technical precision with humanist ideals; observe the subtle ripple of drapery folds mirroring Saint George's grace as he confronts the dragon—a potent symbol of triumph over evil. The painting’s balance and clarity reflect the Renaissance’s fascination with proportion and order, while its subject matter speaks to the era’s burgeoning interest in virtue and heroism. Scholars have analyzed Poussin’s use of perspective and chiaroscuro – dramatic lighting – demonstrating a profound understanding of artistic principles that would influence generations of artists to come. Alongside Poussin, explore works by Raphael, Titian, and Veronese, each offering a unique window into the Renaissance spirit. These artists skillfully employed techniques like sfumato—a hazy blending of colors—to create atmospheric depth and evoke emotion.

    Transitioning into the Dutch Golden Age collection is an exercise in sensory delight. The masterful use of light and shadow –

    chiaroscuro

    – dominates this section, transforming ordinary scenes into moments of profound emotional resonance. Rembrandt’s

    The Return of the Prodigal Son

    stands as a cornerstone of this artistic achievement, its dramatic composition conveying tenderness and forgiveness through the father’s expressive face. Beyond Rembrandt’s monumental works, canvases by Vermeer, Frans Hals, and Jan Steen reveal the remarkable skill with which these artists captured scenes from daily existence. Vermeer's

    Girl with a Pearl Earring

    is particularly arresting – a quiet moment of contemplation rendered with exquisite detail; the subject’s gaze directed outwards, conveying both vulnerability and intelligence. The meticulous layering of paint – a technique known as glazing – contributes to the luminous quality of Vermeer’s paintings, highlighting his unparalleled ability to capture fleeting expressions and subtle nuances of emotion. Consider also the vibrant portraits by Hals, brimming with life and character. These artists prioritized capturing psychological realism, striving to portray their subjects with remarkable accuracy and sensitivity.

    A Global Tapestry: Beyond Europe's Shores

    The Hermitage’s story extends far beyond the Renaissance and Dutch Golden Age, revealing a truly global collection. Ancient artifacts—shimmering gold artifacts and intricately crafted jade sculptures recovered from Scythian burial mounds—offer a tangible connection to the vibrant trade networks of the Silk Road, demonstrating that artistic expression transcends temporal boundaries and reveals the sophistication of nomadic cultures. Medieval Christian art radiates spiritual power, including Byzantine icons brimming with symbolism – their vibrant colors and stylized figures conveying profound theological narratives. The museum’s curators have painstakingly reconstructed these artifacts, allowing for an immersive journey through human history, from the grandeur of imperial Rome to the solemn beauty of Orthodox faith. Recent expeditions to Siberia have unearthed remarkable discoveries – including mammoth ivory carvings and exquisitely decorated shamanic masks – enriching the Hermitage's understanding of Eurasian artistic traditions. Explore collections showcasing ancient Egyptian treasures, Greek sculptures, and Asian ceramics, each telling a unique story of human ingenuity and cultural exchange.

    A Living Legacy: Exhibitions and Future Horizons

    The Hermitage isn’t a static monument; it’s a living institution constantly evolving with new discoveries and exhibitions. While its permanent collection remains breathtaking in scope – encompassing over three million objects—temporary displays offer fresh perspectives on familiar works and introduce visitors to lesser-known artists and cultures. Don’t miss opportunities to engage with interactive exhibits designed for all ages, offering deeper insights into the artworks and their historical context. Visiting the Hermitage is not simply about observing masterpieces; it's about engaging with a legacy—a testament to human creativity, intellectual inquiry, and the enduring power of art to inspire and transform. The museum’s commitment to preservation and research ensures that this extraordinary collection will continue to captivate and educate generations to come. The Hermitage also maintains a strong focus on digital engagement, offering virtual tours and online resources for visitors worldwide.

    Where to read more

    Find this online

    QR code linking to the download page for St Maurice and the Angel

    originaluniqueart.com/en/art/download/bernardo-strozzi-st-maurice-and-the-angel-8BWNMV-en/

    Cite this artwork

    MLA
    Strozzi, Bernardo. St Maurice and the Angel. 1640, Hermitage Museum. https://originaluniqueart.com/en/art/bernardo-strozzi-st-maurice-and-the-angel-8BWNMV-en/
    APA
    Strozzi, Bernardo (1640). St Maurice and the Angel [Painting]. Hermitage Museum. https://originaluniqueart.com/en/art/bernardo-strozzi-st-maurice-and-the-angel-8BWNMV-en/
    Chicago
    Bernardo Strozzi. St Maurice and the Angel. 1640. Hermitage Museum. https://originaluniqueart.com/en/art/bernardo-strozzi-st-maurice-and-the-angel-8BWNMV-en/
    Harvard
    Strozzi, Bernardo (1640) St Maurice and the Angel. Hermitage Museum. Available at: https://originaluniqueart.com/en/art/bernardo-strozzi-st-maurice-and-the-angel-8BWNMV-en/

    Look closely

    St Maurice and the Angel — Bernardo Strozzi

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: saint maurice, angel, religious painting. Do you agree? What would you add, or take away?
    4. Look back at Sleeping Child, earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Bernardo Strozzi was about 59 when this was made. What in it looks like the work of an artist at that stage?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    St Maurice and the Angel — Bernardo Strozzi

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is the artistic style of ‘St Maurice and the Angel’?

      • A Renaissance
      • B Impressionism
      • C Baroque
    2. 2. In what year was this painting created?

      • A 1596
      • B 1625
      • C 1640
    3. 3. Who is Bernardo Strozzi?

      • A A Flemish Painter
      • B An Italian Baroque Painter
      • C A German Sculptor
    4. 4. What architectural structure is depicted in the painting’s background?

      • A Cathedral
      • B Villa
      • C Theater
    5. 5. The painting portrays Saint Maurice and an angel. What is St. Maurice known for?

      • A His musical talent
      • B His military leadership
      • C His philosophical writings

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1C · 2C · 3B · 4A · 5B