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The Conversion of Saint Paul
Young Palma (Jacopo Negretti)
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Young Palma (Jacopo Negretti)

Venice, 1544 - Venice, 1628

Young Palma (Jacopo Negretti) See author's file

The Conversion of Saint Paul

1590 - 1595. Oil on canvas.
Not on display

Saul (Saint Paul) has fallen to the ground beside his horse. He is surrounded by his companions, who flee in fear at the apparition of Christ, represented by the brilliant light in the background. The composition is constructed on the basis of two large diagonals that converge on Saul —the work´s central element— and the strong scorci of its figures foreshadow the baroque movement. This work is a clear example of a Venetian tendency that began to develop in 1600 and was characterized by a greater emphasis on drawing, bringing out the figures´ contour lines. Palma the Younger was the last member of an important family of Venetian artists. He became the most important artist in that city during the late sixteenth century, developing his style on the basis of the great artists who were his immediate predecessors, such as Titian, Veronese and, most of all, Tintoretto. This work was acquired by Luis de Haro at the auction of the belongings of Charles I of England. Haro gave it to Felipe IV (1605-1665), who sent it to the Monastery of El Escorial. From there, it entered the Prado Museum in 1839.

Technical data

Related artworks

Inventory number
Young Palma (Jacopo Negretti)
The Conversion of Saint Paul
1590 - 1595
Height: 207 cm; Width: 337 cm
Commonwealth Sale (Charles I´s collection), 1649-1654; Edward Harrison; acquired by Alonso de Cárdenas for Felipe IV; Royal Collection (Real Monasterio de San Lorenzo, El Escorial-Madrid, Sala de Capítulos Prioral o de Oriente, en la banda frente a las ventanas, 1839)

Bibliography +

Ponz, Antonio, Viage de España. Vol. I, Joachin Ibarra, Madrid, 1773, pp. 137-138.

Sanz-Pastor y Fernández de Piérola, Consuelo, San Pablo en el arte: XIX Centenario de su venida a España, Dirección General de Bellas Artes y Junta Nacional, Madrid, 1964.

Pérez Sánchez, Alfonso E., Pintura italiana del S. XVII en España, Universidad Fundación Valdecilla, Madrid, 1965.

Salas, Xavier de, Museo del Prado. Catálogo de las pinturas, Museo del Prado, Madrid, 1972.

Ivanoff, Nicola, Giacomo Negretti Detto Palma Il Giovane. Estratto dei Pittori Bergamaschi, Banca Popolare, Bergamo, 1975, pp. 542, 669/lám. 3.

Mason Rinaldi, Stefania, Palma Il Giovane. L'opera completa, Electa, 1984, pp. 90, fig.214.

Burke, Marcus B., Private Collections of Italian Art in Seventeenth Century Spain, University Microfilm International, Nueva York, 1984, pp. 119.

Museo Nacional del Prado, Catálogo de las pinturas, Museo del Prado, Madrid, 1985, pp. 482-483.

Brown, Jonathan, Velázquez: pintor y cortesano, Alianza Editorial, Madrid, 1986, pp. 212/lám. 251.

Museo Nacional del Prado, Museo del Prado. Inventario general de pinturas (I) La Colección Real, Museo del Prado, Espasa Calpe, Madrid, 1990.

Checa Cremades, Fernando, Tiziano y la monarquía hispánica: usos y funciones de la pintura veneciana en España (siglos XVI y XVII), Nerea, Madrid, 1994, pp. 311, n. 177.

Falomir, M, Pintura italiana del Renacimiento: guía, Museo del Prado, Madrid, 1999, pp. 282.

Museo Nacional del Prado, La almoneda del siglo: relaciones artísticas entre España y Gran Bretaña, 1604-1655, Museo Nacional del Prado, Madrid, 2002, pp. 242.

Luna, J. J., Guerra y pintura en las colecciones del Museo del Prado. S. XVI a Goya, Arte en tiempos de guerra Jornadas de Arte (14º.2008.Madrid), 2009.

Sáez González,M., La colección de la pintura italiana del virrey Lemos, don Pedro Fernández de Castro, en la comarca de Monforte, Ricerche sul '600 napoletano, 2009, pp. 111-119.

Sáez González, M, Sobre la procedencia del Cristo muerto de Antonello da Messina, Boletín del Museo del Prado, XXVII, 2009, pp. 26-32.

Sáez González, Manuela, Coleccionismo y Almoneda del Gran Conde de Lemos, Don Pedro Fernández de Castro., Diputación de Lugo,, 2018, pp. 41-50 p.164.

Ekserdjian,D, 'J.Palma Giovane. The conversion of Saint Paul' En:, Charles I: King and Collector, Royal Academy of Arts,, Londres, 2018, pp. 242 n.60.

Other inventories +

Catálogo Museo del Prado, 1872-1907. Núm. 325.

Inv. Real Museo, 1857. Núm. 684.
''Palma el Joven (Jacobo Palma, llamado) / 684. La conversion de Saulo (E.) / Alto 7 pies, 3 pulg; ancho 12 pies'' [Inventario Real Museo, 1857]

Inscriptions +

Inscribed in red color. Front, lower left corner

Exhibitions +

Charles I: King and Collector
27.01.2018 - 15.04.2018

La Almoneda del Siglo. Relaciones artísticas entre España y Gran Bretaña, 1604 - 1655
15.03.2002 - 02.06.2002

Displayed objects +



Lances / Spears

Instruments, Percussion / Membranophones

Update date: 15-06-2022 | Registry created on 02-12-2015

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