As a model of Christian knighthood, Saint George was a popular figure in the Middle Ages. Artists most frequently represented the episode from his legend in which he slays a dragon and rescues a beautiful princess set to be sacrificed to the beast. The Catalan painter Bernat Martorell included a wealth of detail in his version of the story. Animal and human bones litter the foreground. Lizards\u2014or perhaps baby dragons\u2014crawl around the opening of the dragon\u2019s cave. The princess\u2019s parents and throngs of onlookers crowd the town\u2019s battlements to view the action. Martorell enlivened the physical surface of the painting as well: He richly modeled George\u2019s halo and armor and the scaly body of the dragon with raised gesso decoration, and he gave granular texture to the depiction of the sandy foreground.<\/p>\n
Saint George and the Dragon<\/em> was the central panel of an altarpiece devoted to the saint and was originally surrounded by four smaller narrative panels showing his martyrdom (now in the Mus\u00e9e du Louvre, Paris). Martorell probably painted the altarpiece for the chapel of the Barcelona palace of the government of Catalonia, a region whose patron is Saint George.<\/p>\n","short_description":"Bernat Martorell was one of the greatest painters in Catalonia, Spain, during the first half of the 15th century. Here, he rendered a frequently depicted episode from the popular legend of Saint George, in which the model Christian knight saves a town and rescues a beautiful princess. George\u2019s halo and armor and the scaly dragon are richly modeled with raised stucco decoration.","dimensions":"155.6 \u00d7 98.1 cm (61 1\/4 \u00d7 38 5\/8 in.)","dimensions_detail":[{"depth":null,"width":98,"height":155,"diameter":null,"clarification":null}],"medium_display":"Tempera on panel","inscriptions":null,"credit_line":"Gift of Mrs. Richard E. Danielson and Mrs. Chauncey McCormick","catalogue_display":null,"publication_history":"Jos\u00e9 Puiggar\u00ed, Estudios de indumentaria espa\u00f1ola concreta y comparada, Barcelona, 1890, p. 380. \n\nS[alvador] Sanpere y Miquel, Los cuatrocentistas catalanes: Historia de la pintura en Catalu\u00f1a en el siglo XV, Barcelona, 1906, vol. 1, pp. 193\u201394 (ill.), vol. 2, pp. 275\u201382. \n\n\u00c9[mile] Bertaux, \u201cLes Primitifs espagnols,\u201d La Revue de l\u2019art ancien et moderne 22 (1907), pp. 258\u201361, fig. 5; 23 (1908), pp. 341\u201346. \n\n\u00c9mile Bertaux, \u201cLa Peinture et la sculpture espagnoles au XIVe et au XVe si\u00e8cle jusqu\u2019au temps des rois catholiques,\u201d in Histoire de l\u2019art, ed. Andr\u00e9 Michel, vol. 3, pt. 2, Paris, 1908, pp. 772\u201375, fig. 453. \n\nC. de Mandach, \u201cUn Atelier proven\u00e7al du XVe si\u00e8cle,\u201d Fondation Eug\u00e8ne Piot, L\u2019Acad\u00e9mie des inscriptions et belles lettres, Monuments et m\u00e9moires 16 (1909), pp. 151\u201352, fig. 2. \n\nLeandro Ozzola, \u201cIl Trionfo della Morte nel Palazzo Sclafani di Palermo,\u201d\nMonatshefte fu_r Kunstwissenschaft 2 (1909), pp. 198\u2013205.\n\nMarcel Dieulafoy, Art in Spain and Portugal, London, 1913, p. 175, fig. 347. \n\nSeymour de Ricci, Description raisonn\u00e9e des peintures du Louvre: \u00c9coles \u00e9trang\u00e8res; Italie et Espagne, Paris, 1913, p. 212. \n\n\u201cEl retaule de Sant Jordi atribuit a en Benet Martorell,\u201d Vell i nou 3 (1917), pp. 495\u201396 (ill.). \n\n\u201cAltra vegada el retaule de Sant Jordi abribuit a en Benet Martorell,\u201d Vell i nou 3 (1917), p. 583. \n\n\u201cAn Altar Panel by Benito Martorell,\u201d International Studio 76, 305 (1922), p. 59. \n\nR[obert] B. H[arshe], \u201cSaint George Combating the Dragon,\u201d Bulletin of the Art Institute of Chicago 16 (1922), pp. 18\u201321 (cover ill.).\n\nGeorgiana Goddard King, \u201cThe Rider on the White Horse,\u201d Art Bulletin 5 (1922), p. 6, fig. 10. \n\nValerian von Loga, Die Malerei in Spanien vom XIV. bis XVIII. Jahrhundert, Berlin, 1923, p. 36. \n\nJohnny Roosval, Nya Sankt G\u00f6rans Studier, Stockholm, 1924, p. 178, pl. 2:2. \n\nJosep Pijoan, \"La Col.lecci\u00f3 Deering de 'Maricel' al Museu de Chicago,\" Gaseta de les Arts, 1, no. 3 (1924), p. 5.\n\nThe Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1925, p. 169, no. 2289. \n\nGertrud Richert, Mittelalterliche Malerei in Spanien: Katalanische Wand- und Tafelmalereien, Berlin, 1925, pp. 59\u201360.\n\nBernhard Berenson, intro. to Speculum humanae Salvationis, ed. M. R. James, Oxford, 1926, p. 54. \n\nLouis Hautecoeur, Mus\u00e9e National du Louvre: Catalogue des peintures expos\u00e9es dans les galeries, vol. 2, Paris, 1926, p. 169. \n\nPaula Pope Miller, review of Roosval, Nya Sankt Gorans Studier, in Art Bulletin 9 (1926\u201327), pp. 163\u201364, figs. 1, 3, 4. \n\nAugust L. Mayer, Historia de la pintura espa\u00f1ola, Madrid, 1928, p. 47; 2nd ed., 1942, p. 98. \n\nPierre Paris, La Peinture espagnole depuis les origines jusqu\u2019au d\u00e9but du XIXe si\u00e8cle, Paris, 1928, p. 14, pl. 11. \n\nGabriel Rouch\u00e8s, La Peinture espagnole: Le Moyen \u00c2ge, Paris, 1929, pp. 65, 138\u201340. \n\nWalter Dill Scott and Robert B. Harshe, Charles Deering, 1852\u20131927: An Appreciation, Boston, 1929, p. 51 (ill. opp. p. 50). \n\nChandler Rathfon Post, A History of Spanish Painting, vol. 2, Cambridge, Mass., 1930, pp. 393\u201398, 414\u201315, 424, 442, fig. 223. \n\nElizabeth du Gu\u00e9 Trapier, Catalogue of Paintings (14th and 15th Centuries) in the Collection of the Hispanic Society of America, New York, 1930, pp. xxxiv\u2013xxxv.\n\nF[ilippo] Meli, Problemi di pittura siciliana nel quattrocento, Palermo, 1931, p. 43. AIC 1932, p. 189. \n\nGeorge Harold Edgell, A History of Sienese Painting, New York, 1932, pp. 107\u20138, fig. 115.\n\nB[enjamin] Rowland, Jaume Huguet, Cambridge, Mass., 1932, p. 23. \n\nArt Institute of Chicago, Annual Report, 1933, p. 34. \n\nJane M. Wilson, \u201cOnce in a Lifetime: The Art of Five Centuries and a Dozen Schools under One Roof,\u201d Delphian Quarterly 16 (1933), pp. 3\u20134. \n\nJuan de Contreras, Marqu\u00e9s de Lozoya, Historia del arte hisp\u00e1nico, vol. 2,\nBarcelona, 1934, p. 325. \n\nThe Art Institute of Chicago, A Brief Illustrated Guide to the Collections, 1935, p. 24 (ill.). \n\nW. R. Valentiner, \u201cLe Ma\u00eetre du Triomphe de la Mort \u00e0 Palerme,\u201d Gazette des Beaux-Arts, 6th ser., 18 (1937), pp. 27\u201329, fig. 13. \n\nChristian Zervos, ed., L\u2019Art de la Catalogne de la seconde moiti\u00e9 du neuvi\u00e8me si\u00e8cle \u00e0 la fin du quinzi\u00e8me si\u00e8cle, Paris, 1937, pl. 190, figs. 285\u201386. \n\nA[gust\u00ed] Duran i Sanpere, \u201cEl mestre del retaule de Sant Jordi,\u201d Catalunya: Revista d\u2019informaci\u00f3 i expansi\u00f3 catalana 9 (1938) pp. 16\u201319. \n\nChandler Rathfon Post, A History of Spanish Painting, vol. 7, Cambridge, Mass., 1938, pp. 60, 120, 204\u201305, 669. \n\nF[rank] J[ewett] Mather, Western European Painting of the Renaissance, New York, 1939, p. 222, fig. 128. \n\nHans Tietze, Meisterwerke europ\u00e4ische Malerei in Amerika, Vienna, 1935, p. 307, pl. 9 (Eng. ed., Masterpieces of European Painting in America, New York, 1939).\n\nThe Art Institute of Chicago, A Brief Illustrated Guide to the Collections, 1941, p. 30.\n\n Jos\u00e9 Gudiol, ed., Spanish Painting, exh. cat., Toledo Museum of Art, 1941, p. 24,\nfig. 16. \n\nChandler Rathfon Post, A History of Spanish Painting, vol. 8, Cambridge, Mass., 1941, pp. 618, 622, 624, 628. \n\nRegina Shoolman and Charles E. Slatkin, !e Enjoyment of Art in America, Philadelphia and New York, 1942, p. 463, pl. 404. \n\nOskar Hagen, Patterns and Principles of Spanish Art, rev. ed., Madison, Wis., 1943, pp. 113\u201315, fig. 39. \n\nThe Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, 1945, p. 32 (ill.). \n\nThe Art Institute of Chicago, A Picture Book: Masterpieces of Painting, XV and XVI Centuries in the Collections of The Art Institute of Chicago, 1946, pp. 2\u20135.\n\nEnrique Lafuente Ferrari, Breve historia de la pintura espa\u00f1ola, Madrid,\n1946, p. 50; rev. ed., 1953, p. 85. \n\nThe Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, 1948, p. 28 (ill.). \n\nEverard M. Upjohn, Paul S. Wingert, and Jane Gaston Mahler, History of\nWorld Art, New York, 1949, pp. 166\u201367, fig. 172. \n\nStephen V. Grancsay, \u201cThe Interrelationships of Costume and Armor,\u201d Metropolitan Museum of Art Bulletin 8 (1950), p. 181 (ill.). \n\nPaul Guinard and Jeannine Baticle, Histoire de la peinture espagnole du\nXIIe au XIXe si\u00e8cle, Paris, 1950, p. 161. \n\nJacques Lassaigne, Spanish Painting from the Catalan Frescos to El Greco, trans. Stuart Gilbert, Geneva, 1952, p. 129. \n\n\"Chicago's Fabulous Collectors: Art Institute Announces it will Get Treasures from their Homes,\" Life Magazine (October 27, 1952): 91 (ill).\n\nJ. F. R\u00e1fols, Diccionario biogr\u00e1fico de artistas de Catalu\u00f1a, vol. 2, Barcelona, 1953, pp. 125\u201326. \n\nJos\u00e9 Guidol Ricart, Pintura g\u00f3tica, Ars hispaniae 9, Madrid, 1955, p. 106, fig. 77. \n\nJos\u00e9 Gudiol Ricart et al., Catalu\u00f1a, Barcelona, 1955, p. 59. \n\nFernando Jim\u00e9nez-Placer y Su\u00e1rez de Lezo, Historia del arte espa\u00f1ol, vol. 1, Barcelona, 1955, pp. 431\u201333, 449, fig. 819. \n\nFrederic-Pau Verri\u00e9, L\u2019art catal\u00e0, vol. 1, ed. Joaquim Folch i Torres, Barcelona,\n1955, pp. 401\u201302. \n\nJos\u00e9 Gudiol Ricart, Santiago Alcolea Gil, and Juan-Eduardo E. Cirlot, Historia de la pintura en Catalu\u00f1a, Madrid, 1956, p. 114, fig. 62. \n\nThe Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago, 1956, pp. 28\u201329 (ill.). \n\nJuan Antonio Gaya Nu\u00f1o, La pintura espa\u00f1ola fuera de Espa\u00f1a, Madrid, 1958, pp. 41, 231, no. 1734, pl. 19. \n\nJos\u00e9 Gudiol Ricart, Jaume Huguet, Madrid, 1958, p. 69. \n\nChandler Rathfon Post, A History of Spanish Painting, vol. 12, Cambridge, Mass., 1958, p. 249. \n\nLouis R\u00e9au, Iconographie de l\u2019art chr\u00e9tien, vol. 3, Paris, 1958, p. 575. \n\nGabriel Rouch\u00e8s, La Peinture espagnole, des origins au XXe si\u00e8cle, Paris, 1958, pp. 44\u201345.\n\nJos\u00e9 Gudiol Ricart, Bernardo Martorell, Madrid, 1959, pp. 16\u201317, 37 n. 4, pls. 4\u20135. \n\nStora Spanska M\u00e4stare, exh. cat., Stockholm, Nationalmuseum, 1959, p. 41.\n\nThe Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, pp. 95 (ill.), 296. \n\nRenzo Chiarelli, Margherita Lenzini Moriondo, and Franco Mazzini, European Painting in the 15th Century, New York, 1961, pp. 19, 222. \n\nJacqueline Marette, La Connaissance des primitives par l\u2019\u00e9tude du bois, du XIIe au XVIe si\u00e8cle, Paris, 1961, p. 174. \n\nA. Deulofeu, Catalunya: Origen de la pintura medieval, Barcelona, 1963,\np. 77. \n\nTr\u00e9sors de la peinture espagnole: \u00c9glises et mus\u00e9es de France, exh. cat., Paris, Palais du Louvre and Mus\u00e9e des Arts D\u00e9coratifs, 1963, pp. 93\u201399. \n\nJos\u00e9 Gudiol, The Arts of Spain, Garden City, N.Y., 1964, p. 153. \n\nEric Young, \u201cMedieval Painting in Spain: Progress and Problems,\u201d Apollo 79 (1964), p. 12, fig. 2. \n\nSantiago Alcolea, \u201cIl gotico internazionale in Spagna,\u201d I maestri del colore 226 (1966), pls. 6\u20137. \n\nJos\u00e9 Cam\u00f3n Aznar, Pintura medieval espa\u00f1ola, Summa artis 22, Madrid, 1966, pp. 245\u201347. \n\nFrederick A. Sweet, \u201cGreat Chicago Collectors,\u201d Apollo 84 (1966), p. 204, 207, fig. 41.\n\nMarcel Durliat, El arte catal\u00e1n, Barcelona, 1967, p. 269. \n\nJ[os\u00e9] M[anuel] Pita Andrade, Treasures of Spain, trans. Isabel Quigly, vol. 1, Geneva, 1967, p. 193. \n\nMart\u00ed de Riquer, L\u2019arn\u00e8s del cavaller: Armes i armadures catalanes medievals, Barcelona, 1968, p. 104, fig. 150. \n\nJohn Maxon, The Art Institute of Chicago, London, 1970, pp. 27\u201328. \n\nMarian Burleigh, \u201cThe \u2018Triumph of Death\u2019 in Palermo,\u201d Marsyas: Studies in the History of Art 15 (1970\u201371), pp. 54\u201355, pl. 22, fig. 15. \n\nJos\u00e9 Gudiol Ricart, Catalu\u00f1a, vol. 1, Madrid, 1974, pp. 284\u201385 (ill.). \n\nAgust\u00ed Duran i Sanpere, Barcelona i la seva hist\u00f2ria, vol. 3, Barcelona, 1975, pp. 79\u201380.\n\nFerdinando Bologna, Napoli e le rotte mediterranee della pittura, Naples, 1977, pp. 21\u201323. \n\nArt Institute of Chicago, 100 Masterpieces, 1978, p. 40, no. 3 (ill.). \n\nMary Faith Mitchell Grizzard, \u201cBernardo Martorell: Fifteenth-Century Catalan\nArtist,\u201d Ph.D. diss., University of Michigan, 1978 (New York and London, 1985), pp. 185\u2013201, 445\u201346, figs. 11, 19. \n\nAlbert Ch\u00e2telet, Les Primitifs septentrionaux: La Peinture dans l\u2019Europe septentrionale et la p\u00e9ninsule Ib\u00e9rique au XVe si\u00e8cle, Geneva, 1979, p. 278, no. 56. \n\nLa pintura g\u00f3tica en la Corona de Arag\u00f3n, exh. cat., Saragossa, Museo e Instituto de Humanidades \u201cCam\u00f3n Aznar,\u201d 1980, pp. 35, 108. \n\nJoaqu\u00edn Yarza, Historia del arte hisp\u00e1nico, vol. 2, Madrid, 1980, p. 381. \n\nArnauld Brejon de Lavergn\u00e9e and Dominique Thi\u00e9baut, eds., Catalogue sommaire illustr\u00e9 des peintures du mus\u00e9e du Louvre, vol. 2, Paris, 1981, p. 119. \n\nMary Grizzard, \u201cAn Identification of Martorell\u2019s Commission for the Aragonese\nCorts,\u201d Art Bulletin 64 (1982), pp. 312\u201313, fig. 3. \n\nMary Grizzard, \u201cLa Provenance du retable de Saint Georges par Bernardo Martorell: Nouvelle Hypoth\u00e8se,\u201d Revue du Louvre 33 (1983), pp. 89\u201396, fig. 1.\n\nJosep Gudiol and Santiago Alcolea i Blanch, Pintura g\u00f3tica catalana, Barcelona, 1986, p. 126, cat. 380, fig. 650. \n\nMathieu H\u00e9riard Dubreuil, Valencia y el G\u00f3tico Internacional, vol. 1, trans. Angela-Petra Salas Martinelli, Valencia, 1987, p. 137. \n\nArt Institute of Chicago, Master Paintings in The Art Institute of Chicago, 1988 , p. 13 (ill.).\n\nAlbert Ch\u00e2telet and Roland Recht, Automne et renouveau, 1380\u2013 1500, Le Monde gothique 35, Paris, 1988, pp. 230\u201331. \n\nJudith Berg Sobr\u00e9, Behind the Altar Table: The Development of the Painted Retable in Spain, 1350\u20131500, Columbia, Mo., 1989, p. 91, fig. 48. \n\nJoan Ainaud de Lasarte, Catalan Painting, vol. 2, New York, 1990, pp. 78\u201380. \n\nClaudie Ressort, La Peinture espagnole, Louvre, Paris, 1991, p. 5. \n\nJacques Gagliardi, La Conqu\u00eate de la peinture: L\u2019Europe des ateliers du XIII\u00e8me au XV\u00e8me si\u00e8cle, Paris, 1993, p. 209, no. 250 (ill.). \n\nGeorges Didi-Huberman, Riccardo Garbetta, and Manuela Morgaine, Saint Georges et le dragon: Versions d\u2019une l\u00e9gende, Paris, 1994, pp. 85 (ill.), 96. \n\nJoaqu\u00edn Yarza Luaces, in La pintura espa\u00f1ola, ed. Alfonso P\u00e9rez S\u00e1nchez and Juan Manuel Bonet, vol. 1, Milan, 1995, p. 121. \n\nSantiago Alcolea Blanch, \u201cMartorell, Bernat,\u201d in Dictionary of Art, vol. 20, 1996, p. 514, fig. 1. \n\nAnnick Lautraite and Claudie Ressort, Le Tableau du mois, no. 41: Les Quatre Sc\u00e8nes de la l\u00e9gende de saint Georges par Bernardo Martorell, Paris, Mus\u00e9e du Louvre, 1997. \n\nFrancesc Ru\u00edz i Quesada, \u201cUna reflexi\u00f3 a l\u2019entorn del taller de Bernat Martorell a partir de l\u2019observaci\u00f3 de certes dissemblances presents en la seva obra,\u201d Miscel.l\u00e0nia en homenatge a Joan Ainaud de Lasarte, vol. 1, Barcelona, 1998, p. 432. \n\nFrancesc Ru\u00edz i Quesada, Bernat Martorell, el Mestre de Sant Jordi, exh. cat., Barcelona, Museu Nacional d\u2019Art de Catalunya, 2002, pp. 11, 13, 20, 36\u201351 (ill.), 129 (ill.), 145, 147\u201349.\n\nClaudie Ressort in V\u00e9ronique Gerard Powell and Claudie Ressort, Mus\u00e9e du Louvre, D\u00e9partement des Peintures. Catalogue. \u00c9coles Espagnole et Portugaise, Paris, 2002, pp. 96-101, fig. 35.\n\nAudrey Niffenegger, The Time Traveler\u2019s Wife, New York, 2003, pp. 48\u201349. \n\nJoan Molina Figueras, ed., Bernat Martorell i la tardor del g\u00f2tic catal\u00e0: el context art\u00edstic del retaule de P\u00fabol, exh. cat., Girona, Museu d'Art de Girona, 2003, p. 9, fig. 3. \n\nM[artha] W[olff], in Art Institute of Chicago Museum Studies 30, 2 (2004), pp. 79\u201380, no. 54 (cover ill.). \n\nLarry J. Feinberg, \u201cA Brief History of the Old Masters in the Art Institute of Chicago,\u201d Art Institute of Chicago Museum Studies 32, 2 (2006), p. 12, fig. 6.\n\nRosa Alcoy Pedr\u00f3s, \u201cTalleres y din\u00e1micas de a pintura del g\u00f3tico internacional en Catalu\u00f1a\u201d in La pintura g\u00f3tica durante el siglo XV en tierras de Arag\u00f3n y en otros territorios peninsulares, ed., Mar\u00eda del Carmen Lacarra Ducay, Zaragosa, 2007, pp. 173-4, fig. 60.\n\nSantiago Alcolea Blanch, \u201cEl Retaule de Sant Jordi de Bernat Martorell, a Par\u00eds, Xicago i Filad\u00e9lfia\u201d in Hist\u00f2ria de l\u2019Art Catal\u00e0. Art Catal\u00e0 al M\u00f3n, Barcelona, 2007, pp. 72-75, ill.\n\nJudith Berg Sobr\u00e9 in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 78-86, ill.\n\nJustin E.A. Kroesen, Staging the Liturgy: The Medieval Altarpiece in the Iberian Peninsula, Leuven, Paris and Walpole, Massachusetts, 2009, pp. 82-83, fig. 58.\n\nSebasti\u00e0 S\u00e1nchez Sauleda, \u201cCol.leccionisme, art i reminiscencies medievals: Charles Deering i el Palau Maricel de Sitges,\u201d Lambard. Estudis d\u2019art medieval 22 (2010\/2011), p. 101, 105-107, fig. 4.\n\nGuadaira Mac\u00edas, C\u00e8sar Fav\u00e0, and Rafael Cornudella, El G\u00f2tic a les col.leccions de MNAC, Barcelona, 2011, pp. 203, 207, 211.\n\nGuadaira Mac\u00edas and Rafael Cornudella, \"Bernat Martorell i la llegenda de Sant Jordi. Del retaule als brodats, Locus Amoenus, no. 11 (2011-2012), pp. 19-53, fig. 1.\n\nGuadaira Mac\u00edas and Rafael Cornudella, \"Bernat Martorell y la pintura catalana de su tiempo\" in Catalu\u00f1a 1400. El G\u00f3tico Internacional, exh. cat., Barcelona, Museu Nacional d\u2019Art de Catalunya, 2012, pp. 56, 57, 59, fig. 1.\n\nGuillaume Kientz in Catalu\u00f1a 1400. El G\u00f3tico Internacional, exh. cat., Barcelona, Museu Nacional d\u2019Art de Catalunya, 2012, pp. 192-96, under no. 33.\n\nSusan Frances Jones, \u201cJan van Eyck and Spain,\u201d Bolet\u00edn de Museo del Prado 32, 50 (2014), pp. 33, 48 n. 13.\n\nSebasti\u00e0 S\u00e1nchez Sauleda, \u201cEntre Bernat Martorell i els Verg\u00f3s: la col.lecci\u00f3 Deering i el patrimoni catal\u00e0 a la diaspora\u201d in Rosa Alcoy, ed., Art fugitiu: Estudis d\u2019art medieval despla\u00e7at, Barcelona, 2014, pp. 427-29.\n\nAnna Muntada i Torrellas, \u201cVestir l\u2019altar de la capella: hun pali molt bell brodat de fil d\u2019or, argent e de seda\u201d in Mari\u00e0 Carbonell i Buades, ed., El Palau de la Generalitat de Catalunya: art i arquitectura, vol. 1, Barcelona, 2015, pp. 182, 186, 187, 190, 191, ill.\n\nGuadaira Mac\u00edas and Rafael Cornudella, \u201cEl Retaule de sant Jordi de Bernat Martorell\u201d in Mari\u00e0 Carbonell i Buades, ed. El Palau de la Generalitat de Catalunya: art i arquitectura, vol. 1, Barcelona, 2015, pp. 208, 210-11, 213 ill., 216, 220, 225, 227-28, 229 ill. \n\nJames Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 21 (ill.).\n\nJames Rondeau, ed., Highlights of the Art Institute of Chicago (New Haven and London: Yale University Press, 2026), 31, 257, no. 31 (ill.).","exhibition_history":"Barcelona, Academia de Bellas Artes, Exposici\u00f3n retrospectiva de obras de pintura, de escultura y artes suntuarias, 1867, nos. 2139\u201344. \n\nChicago, The Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture Lent from American Collections, June 1 - November 1, 1933, cat. 178 (ill.). \n\nChicago, The Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture Lent from American Collections, June 1 - November 1, 1934, cat. 78. \n\nArt Institute of Chicago, Masterpiece of the Month, July 1939 (no cat.).\n\nThe Art Institute of Chicago, New Light on Old Masters: Research on Northern European and Spanish Paintings before 1600 in the Art Institute, 26 June\u201414 September 2008, no cat.","provenance_text":"Probably commissioned for the chapel of Saint George, Palau de la Generalitat, Barcelona [Sobr\u00e9 in Wolff 2008]; Don Francesc de Sales de Rocabruna i Jord\u00e0, Baron of Albi, by 1867, died 1874 [lent by him to Barcelona 1867, along with the four lateral panels now in the Louvre, Paris, and a painting of the Virgin, probably the painting now in the Philadelphia Museum of Art]; when his estate was divided between his sister Maria Josepa de Rocabruna i Jord\u00e0 (d. 1890) and his widow Josepa de Rocabruna i Pascual (died 1884), Saint George and the Dragon is likely to have passed to his widow, since two of her three executors correspond to the executors mentioned in the confused account of the painting\u2019s sale in Sanpere y Miquel 1906, vol. 1, p. 195, vol. 2, p. 275 [see Mac\u00edas and Cornudella 2011-2012, pp. 21-22 for the family relationships and likely transmission]. Don Jos\u00e9 Ferrer-Vidal i Soler, Barcelona, by 1906, until 1917 [Sanpere y Miquel 1906, vol. 1, p. 194, see also Mac\u00edas and Cornudella 2012, p. 22 and S\u00e1nchez Sauleda 2014, p. 429]; sold by him to Charles Deering, Marycel, Sitges, near Barcelona, and Chicago, in 1917 [see S\u00e1nchez Sauleda 2014]; the painting was placed on loan at the Art Institute in 1921; loan agreement, Nov. 18, 1921, Art Institute Archives]; given to his daughters, Marion Deering McCormick and Barbara Deering Danielson, 1924 [Art Institute Archives]; given by them to the Art Institute, 1933.","edition":null,"publishing_verification_level":"Web 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