Who painted Saint Ignatius Leaving Antioch?

Saint Ignatius Leaving Antioch was painted by Johann Baptist Enderle in 1773.

Where can I see Saint Ignatius Leaving Antioch?

Saint Ignatius Leaving Antioch is held by National Gallery of Art.

What movement is Saint Ignatius Leaving Antioch?

Saint Ignatius Leaving Antioch is associated with Romanticism.

Can I buy a print of Saint Ignatius Leaving Antioch?

Museum-quality prints of Saint Ignatius Leaving Antioch are available made-to-order from Artifact World Gallery.

Artwork

Saint Ignatius Leaving Antioch

Johann Baptist Enderle , 1773

Saint Ignatius Leaving Antioch is an ink drawing by the Romanticist artist Johann Baptist Enderle. It dates from 1773 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:at bottom center in brown ink: Jos. Leitkrath, and right center in brown ink: Abschied des Heiligen von seinen betrübten Schühlern zu Antiochia [departure of the saint from his sorrowing pupils in Antioch]; at bottom left in pen and black ink, a drawn scale; verso, at bottom right in graphite: G 1709/3430 (the latter crossed out)

About this work

Overview

Saint Ignatius Leaving Antioch is a 1773 drawing by Johann Baptist Enderle. Executed on laid paper, the work combines watercolor, white gouache, black wash, and pen and ink applied over a graphite underdrawing, creating a layered monochromatic composition.

Subject & Meaning

The image depicts the early Christian figure Saint Ignatius as he departs from the city of Antioch, a moment traditionally associated with his missionary journey and eventual martyrdom. The portrayal emphasizes his pious resolve and the spiritual significance of his exile.

Technique & Style

Enderle’s approach merges the fluidity of watercolor with the opacity of white gouache, while the black wash and ink provide contrast and definition. The initial graphite sketch guides the composition, allowing the artist to build depth through successive translucent layers.

History & Provenance

Created in 1773, the drawing reflects the 18th‑century interest in religious subjects rendered in intimate, preparatory formats. Its subsequent ownership record is not documented in the available sources.