St George and the Dragon
| Support Type: | Wood Panel |
| Paint Type: | Tempera |
| Current Location: | National Gallery, London |
| Location History: | First recorded in the collection of Count Karol Lanckoroński (1848–1933) in Vienna in 1898. In 1939 it was stolen by the Nazis from the Lanckoroński house in Jacquingasse, Vienna, and kept in saltmines in Alt Aussee or in the Immendorf Castle (destined for the Hitler Museum in Linz); subsequently recovered by the American army and placed in the Collecting Point in Munich; for some time housed in Hohenems Castle, and kept in a bank in Zurich between 1946 and 1959. Purchased through Mr Farago from Count Lanckoroński by special grant, with contributions from the Phillott and Temple-West Funds, 1959. |
Saint George and the Dragon, a work by Paolo Uccello painted around 1470, is a painting that showcases the battle between Saint George and the dragon in an extremely creative composition that is well arranged. In the artwork, Saint George is placed in the middle of the painting dressed in armory and riding a white horse. In this painting, the dragon is represented with wing and a long tail, while its mouth is wide open, making it the dominating figure among the lower half figures in the painting. The princess is standing near the horse, holding a leash tied to the neck of the dragon. The sense of movement is achieved by the means of the diagonals of the lance, horse, and beast itself. The landscape and the distant fortified city, on the other hand, are built on the basis of geometric accuracy, characteristic of the artist. In addition, the dreamy atmosphere of the picture is created by the landscape and simplified architecture which are drawn in unusual shapes. The color palette includes blue, red, green, and gold colors. The top half of the picture is taken up by a bright golden sky through which God the Father is seen towering over the city in rays of light. Here is brought in the element of divine intervention, which implies the help of heaven in the battle on earth, which results in the victory of Saint George. In this respect, the dragon in the picture can be interpreted as an embodiment of evil defeated by faith and the divine providence. The painting integrates the ornamental nature of the International Gothic style with the Early Renaissance concern for perspective and geometry.
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