The Vision Of Saint Anthony Of Padua

As I visited the Chrysler Museum of Arts, I looked at several different types of artwork. There was one particular painting that really caught my eye, and this was the painting of The Vision of Saint Anthony of Padua by Claudio Coello. As I viewed the painting, I noticed that the theatrical backdrop was of an Italianate interior. Located against the backdrop was Anthony of Padua, a Franciscan monk dressed in dark robes and baring his head according to the dictates of his order, falls to his knees in humility. Above him, the nude Christ Child Ð'- his weight balanced between a glistening globe and the head of an angel Ð'- reaches toward Anthony in a sign of blessing. The globe and Christ Child are supported by a host of cherubim.

Anthony kneels before an altar draped in a plush red cloth. In the foreground, beside the altar, a metal urn holds a branch of white lilies, the traditional symbol of purity, chastity, and innocence, and I found this to be very astounding. On the other side of the altar, were two putti (little angels) converse in the shadows, one of whom holds a brown book while the other gestures towards the scene taking place in front of them. Meanwhile, two putti carrying a garland of pink roses (signifying grace and gentility) fly behind Anthony.

I also noticed that the artist, Claudio Coello, had signed the painting in the lower left-hand corner (CLAUDIO FA 63). The signature is similar to that on Coello's earliest signed painting, Christ at the Door of the Temple (1660, Prado Museum, Madrid). In both, the letters and date appear to be "carved" into stone Ð'- here, on the platform on which the altar rests.

Not only was this depiction of St. Anthony of Padua the first in Coello's oeuvre (he eventually executed at least three representations of the saint), but it is also one of the artist's earliest known works. It has been speculated that The Vision of Saint Anthony of Padua may have originally been set into a frame with an arched upper portion.

I think also in understanding artwork, one must understand the artist and his work. Claudio Coello (1642-1693), known primarily for his prolific fresco decorations and easel paintings for the churches of Madrid, was the fourth child of Portuguese parents who emigrated to Spain. His father, Faustino, was a craftsman working in bronze who wished to have his son assist his work. Accordingly, he apprenticed young Claudio to the studio of Francisco Rizi, a court painter and theatrical designer, in about 1654-1655 to study drawing. Rizi recognized Claudio's talent and convinced the elder Coello to allow Claudio to become a full apprentice.

Like other young artists of his generation, Coello studied great art of the past in the royal collections. As court painter, Rizi allowed his pupil access to