Fern Rusk Shapley, Paintings from the Samuel H. Kress Collection: Italian schools, (London: Phaidon Press for the Samuel H. Kress Foundation, 1966-1973).
","citation":"Fern Rusk Shapley, Paintings from the Samuel H. Kress Collection: Italian schools, (London: Phaidon Press for the Samuel H. Kress Foundation, 1966-1973).
, Vol. 2: p. 100-101; fig. 241","date":1966,"id":5166,"uri":"https://search.worldcat.org/title/621487"},{"boilertext":"Works by the old masters, and by deceased masters of the British school: including a special selection from the works of Sir A.W. Callcott, R.A., and D. Maclise, R.A., (London: Royal Academy of Arts, 1875).","citation":"Works by the old masters, and by deceased masters of the British school: including a special selection from the works of Sir A.W. Callcott, R.A., and D. Maclise, R.A., (London: Royal Academy of Arts, 1875)., no. 178","date":1875,"id":5167,"uri":"https://search.worldcat.org/title/38062259"},{"boilertext":"Joseph Antenucci Becherer, Pietro Perugino: master of the Italian Renaissance, (New York: Rizzoli International; Grand Rapids, MI: Grand Rapids Art Museum, 1997).","citation":"Joseph Antenucci Becherer, Pietro Perugino: master of the Italian Renaissance, (New York: Rizzoli International; Grand Rapids, MI: Grand Rapids Art Museum, 1997)., cat. no. 26; p. 240-243 (illus.)","date":1997,"id":5168,"uri":"https://search.worldcat.org/title/37370277"},{"boilertext":"Raffaella Zama, Girolamo Marchesi da Cotignola: pittore: catalogo generale, (Rimini: Luisè, 2007).","citation":"Raffaella Zama, Girolamo Marchesi da Cotignola: pittore: catalogo generale, (Rimini: Luisè, 2007).","date":2007,"id":5169,"uri":"https://search.worldcat.org/title/191150543"},{"boilertext":"Herbert Cook, ed., A catalogue of the paintings: at Doughty House, Richmond & elsewhere in the collection of Sir Frederick Cook, (London: William Heinemann, 1913).","citation":"Herbert Cook, ed., A catalogue of the paintings: at Doughty House, Richmond & elsewhere in the collection of Sir Frederick Cook, (London: William Heinemann, 1913)., Vol. 1: no. 58","date":1913,"id":5170,"uri":"https://search.worldcat.org/title/21899569"},{"boilertext":"Wilhelm Suida, Catalogue: (Samuel H. Kress Collection), Philadelphia Museum of Art bulletin 46, no. 227 (Autumn, 1950): p. 2-23.","citation":"Wilhelm Suida, Catalogue: (Samuel H. Kress Collection), Philadelphia Museum of Art bulletin 46, no. 227 (Autumn, 1950): p. 2-23., p. 8, note 4; p. 2 (illus.)","date":1950,"id":5171,"uri":"https://www.jstor.org/stable/3794921"},{"boilertext":"Annette Rupprecht and Sheri Francis Shaneyfelt, \"School of Pietro Perugino, Saint Sebastian\", in Studying and conserving paintings : occasional papers on the Samuel H. Kress Collection, (London: Archetype Publications: in association with the Conservation Center of the Institute of Fine Arts, New York University, 2006).","citation":"Annette Rupprecht and Sheri Francis Shaneyfelt, \"School of Pietro Perugino, Saint Sebastian\", in Studying and conserving paintings : occasional papers on the Samuel H. Kress Collection, (London: Archetype Publications: in association with the Conservation Center of the Institute of Fine Arts, New York University, 2006)., p. 133-41","date":2006,"id":5172,"uri":"https://search.worldcat.org/title/886807595"},{"boilertext":"Sarah Arvio, \"Master and torso\", Society of Fellows of the American Academy in Rome news (Fall, 2009).","citation":"Sarah Arvio, \"Master and torso\", Society of Fellows of the American Academy in Rome news (Fall, 2009)., p. 12 (illus.)","date":2009,"id":923,"uri":"https://search.worldcat.org/title/175031335"},{"boilertext":"\"Acquisitions of the Art Museum 1995,\" Record of the Art Museum, Princeton University 56, no. 1/2 (1997): p. 36-74.","citation":"\"Acquisitions of the Art Museum 1995,\" Record of the Art Museum, Princeton University 56, no. 1/2 (1997): p. 36-74., p. 36 (illus.)","date":1997,"id":3050,"uri":"https://www.jstor.org/stable/3774759"}],"nowebuse":"False","periods":[],"department":"European Painting and Sculpture ","attribute_groups":[{"id":2199321,"term":"European Art","termtype":"Collecting Area"},{"id":2199338,"term":"Nazi-era gaps","termtype":"Provenance & Cultural Heritage"}],"daterange":"A.D. 1500-1600","dateend":1510,"depicted":[],"titles":[{"title":"Saint Sebastian","titletype":"Primary Title","displayorder":1}],"hasimage":"true","creditlinerepro":"","objectnumber":"1995-330","inscribed":"Inscribed on loincloth: SACIO[?]","texts":[{"texttype":"Online","textpurpose":"Special Exhibition","textentryhtml":"According to legend, Saint Sebastian was martyred by the Romans for his Christian faith. He was first shot with arrows but miraculously survived; after he was healed, he was beaten to death. Arrows were traditionally associated with the bubonic plague, as contracting the disease was compared to being shot with an arrow. Thus, Sebastian was embraced as a protector against the plague and was frequently featured in sixteenth- and seventeenth-century European art as a figure of hope. This painting represents the saint both as a divine being in an abstract setting and as a victim with an arrow piercing his body where the plague’s pustules were known to appear. The suffering figure of Sebastian was later incorporated into twentieth-century works responding to the AIDS crisis, including one of David Wojnarowicz’s photomontages from his Sex Series, on view in this gallery.","remarks":"States of Health"},{"texttype":"Online","textpurpose":"Gallery Label","textentryhtml":"\n\tThe subject of Saint Sebastian—who, according to legend, was shot with arrows but miraculously survived, only to be beaten to death—gave artists an opportunity to render the nude male form. To model Sebastian’s body, they often looked to ancient sculptures such as the nearby Roman torso.\n
\n\n\tSebastian was embraced as a protector against the bubonic plague because contracting the disease was compared to being shot with an arrow. This painting represents the saint both as a divine being in an abstract setting and as a victim with an arrow piercing his body where the plague’s pustules often appeared.\n
","remarks":"EUR1_02-05_WLA-Day 1 Cataloguing "},{"texttype":"Online","textpurpose":"Provenance","textentryhtml":"Conti degli Oddi, Perugia; Edward Solly, London (until 1847; sale, Christie's, London, May 8, 1847, lot 38, to Lord Northwick); Lord Northwick, Thirlestane House, Cheltenham, Gloucestershire (1847-1873; sale, 1873, through Sir J. Charles Robinson, to Cook); Sir Frederick Lucas Cook, 2d Bt. [1844-1920], Richmond, Surrey (1873- still in 1913); ?by descent to Sir Herbert Frederick Cook, 3d Bt. [1868-1939]; Count Alessandro Contini Bonacossi [1878-1955], Florence (until 1948; probably to Kress) [1]; Samuel H. Kress, 1948-1963 (K1557); given to New Jersey State Museum, Trenton ([FA1963.320] 1963-1994); deaccessioned by New Jersey State Museum, Trenton, 1995; transferred to the Princeton University Art Museum, 1995.
Notes:
[1] Contini-Bonacossi acted as a dealer for Kress and was the source of most Italian paintings in the Kress collection. He bought several paintings from Cook, which then passed into the Kress collection, so while it can't be determined exactly when he obtained the painting, it was most probably directly from the Cook family.
","remarks":"From Victoria Reed notes, 2002"}],"datebegin":1500,"sortnumber":"1995 330","published_date":"2026-03-05 08:37:09.877079","objectid":4545,"dimensions":"76.7 x 53.4 cm (30 3/16 x 21 in.)\r\nframe: 99.1 x 75.9 x 8.3 cm (39 x 29 7/8 x 3 1/4 in.)","on_view":true}