Saint Bartholomew and Saint Anthony Abbot

Curatorial notes

Mariotto di Nardo created this panel of tempera and tooled gold, “Saint Bartholomew and Saint Anthony Abbot,” likely in the early 15th century. The gilded setting contrasts with the matte finish of the two saints. Here, symmetry is more than just a compositional choice, it is a statement. Note how the figures are divided into separate spaces, each framed by an identical golden panel. Di Nardo uses the visual language of spatial division to explore the nature of sanctity. The saints, while sharing a medium and setting, are each self-contained, almost like separate altarpieces. The structure invites us to question whether sanctity is a unified concept or a collection of individual spiritual journeys. Di Nardo doesn't offer a singular answer but presents us with a duality that celebrates both the shared essence and unique expressions of faith.

Reflections

minneapolisinstituteofartover 2 years ago

Mariotto was famous for painting crisp details and the kind of subtle color shifts seen in the angels’ feathered wings and draped robes. These small panels once crowned the upper corners of a large altarpiece made for a church on the outskirts of Florence, Italy (Santo Stefano in Pane). During the late 19th century, the large multiple-panel altarpiece was broken into pieces that were sold separately. Saint Bartholomew, one of the apostles of Jesus, holds a butcher’s knife to symbolize that he was martyred by being flayed alive. Saint Anthony Abbott, born in Egypt, became a hermit in the desert and is considered the founder of monasticism. He lived nearly 100 years, and is usually depicted as old and bearded, holding a crutch.

Saint Bartholomew and Saint Anthony Abbot

Mariotto di Nardo

Minneapolis Institute of Art

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