  About the Artwork
  
  
  This artwork juxtaposes the figures of the soldier saints George and Sebastian. The contrast between George's form encased in armor and Sebastian's idealized yet minimally clothed body acknowledges the vulnerability of the flesh that armor was designed to defend. George's steel equipment perfectly recalls the quintessential style of armor forged in Milan, Italy, where the painter, Andrea Solario, grew up among a vibrant family of artists. 

This painting was once two panels that flanked the central image of a small altarpiece that Solario created as a personal devotional aid for the French cardinal and general Georges d'Amboise (1460 - 1510). The patron's distinctive portrait likeness appears here as the face of his namesake, Saint George.
  
  
  Title
  Saint George and Saint Sebastian
  
  
  Artwork Date
  ca. 1507 - 1510
  
  Artist
  Andrea Solario
  
  
  
  Life Dates
  ca. 1465 - before 1524
  
  
  
  
  Nationality
  
  
  
  Please note:
  Definitions for nationality may vary significantly, depending on chronology and world events.
  Some definitions include:
  Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation.
  
  
  
  Italian
  
  
  
  Culture
  
  
  
  Please note:
  Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group.
  
  
  
  
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  Medium
  Oil on wood panel
  
  
  Dimensions
  Unframed: 14 1/2 × 10 1/4 inches (36.8 × 26 cm)
  Framed: 20 1/2 × 16 5/8 × 2 1/16 inches (52.1 × 42.2 × 5.2 cm)
  
  
  Classification
  Paintings
  
  
  Department
  European Painting
  
  
  Credit
  City of Detroit Purchase
  
  
  
  Accession Number
  
  
  
  This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection.
  Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings.
  For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups.
  
  
  
  26.110
  
  
  Copyright
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