Few paintings by Anthony van Dyck have sparked as much discussion about artistic influence as St Jerome in penitence, created in 1618 when the young Flemish painter was still under the powerful shadow of his mentor, Peter Paul Rubens. Scholars note that Van Dyck’s early works, and this painting in particular, reveal a dialogue with Rubens’s own interpretations of the same subject, yet already hint at the personal style that would later define Van Dyck’s career. The existence of several versions of St Jerome by both artists has led to centuries of comparison and occasional confusion in attribution, with experts carefully tracing brushwork and composition to distinguish the hand of the apprentice from that of the master. Here, Van Dyck chooses to capture St Jerome at the height of his penitence, alone in the wilderness, his body gaunt from fasting and his gaze lifted in fervent prayer.

The saint’s weathered hands clutch a stone, an instrument of self-mortification, while a skull rests nearby as a stark reminder of mortality. The lion, Jerome’s legendary companion, lies subdued at his feet, its presence a symbol of both danger and faith tamed. Light falls dramatically across the saint’s bare torso, emphasizing both his physical suffering and spiritual devotion—a chiaroscuro effect reminiscent of Caravaggio, but with the silken, painterly touch that Van Dyck would make his own.

Unlike Rubens’s more muscular, heroic Jeromes, Van Dyck’s figure is leaner, more introspective, inviting the viewer to contemplate the cost of such devotion. The precise early history of this painting remains uncertain, as records from Van Dyck’s Antwerp period are fragmentary. It is generally agreed that works like St Jerome in penitence were painted for private devotion, rather than grand church commissions, reflecting the personal piety of their patrons. Over the centuries, the painting has passed through various collections, sometimes misattributed to Rubens due to their stylistic proximity, before Van Dyck’s distinct authorship was recognized.

Today, it stands as a testament to Van Dyck’s formative years and his emerging voice within the Baroque movement, bridging the grandeur of Rubens and the elegance that would later define his English portraits.