Who painted Vision of Saint Anthony of Padua?

Vision of Saint Anthony of Padua was painted by Donato Creti in 1601.

Where can I see Vision of Saint Anthony of Padua?

Vision of Saint Anthony of Padua is held by National Gallery of Art.

What movement is Vision of Saint Anthony of Padua?

Vision of Saint Anthony of Padua is associated with Baroque.

Can I buy a print of Vision of Saint Anthony of Padua?

Museum-quality prints of Vision of Saint Anthony of Padua are available made-to-order from Artifact World Gallery.

Artwork

Vision of Saint Anthony of Padua

Donato Creti , 1601

Vision of Saint Anthony of Padua is an ink drawing by the Baroque artist Donato Creti. It dates from 1601 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created in 1601, the drawing titled Vision of Saint Anthony of Padua is executed in pen and brown ink on laid paper. It is attributed to Donato Creti, an Italian artist active in Bologna during the early seventeenth century. The work belongs to the religious genre and serves as a preparatory study rather than a finished painting.

Subject & Meaning

The composition depicts a kneeling, robed figure in prayer, his hands clasped in devotion. Above him, a cloudy formation encloses a small, winged presence, interpreted as an angelic messenger or saint, suggesting a visionary encounter associated with Saint Anthony of Padua.

Technique & Style

Creti employs swift, loose lines and extensive cross‑hatching to build tonal depth, achieving a sense of volume without pigment. The drawing’s controlled modeling and restrained ornamentation reflect a manneristic neoclassicism, emphasizing formal clarity over decorative flourish within the Bolognese academic tradition.

History & Provenance

The piece originates from Creti’s early period, predating his later Rococo paintings. It was likely produced as a study for a larger composition, a common practice among Bolognese artists who prepared detailed sketches before executing oil works.

Context

Within the Bolognese school, Creti’s approach combined the rigorous drawing techniques of the Carracci academy with a personal inclination toward a more austere, academicized grandeur. This synthesis positioned him as a distinctive figure bridging late Mannerism and emerging neoclassical tendencies.