Saint Sebastian

Vaughan produced three significant oils exploring the story of Saint Sebastian: Martyrdom of Saint Sebastian, 1958, Saint Sebastian, 1961 (the present work) and Archers from a Martyrdom of Saint Sebastian, 1964. A sizeable collection of detailed pencil studies and sketches also exist which relate to the paintings. As with Renaissance and Baroque artists, the subject legitimised the use of the male nude and allowed Vaughan to explore certain erotic overtones associated with it. The upraised arms, for example, suggestive of vulnerability and restraint, open up the figure’s torso allowing patches and fragments of the landscape to penetrate the saint’s body. This is of both formal and narrative interest, since the saint is depicted in the moments before his flesh is pierced by arrows. Vaughan’s focus is the male form per se, rather than the details of the Christian narrative.

A year before painting Saint Sebastian, Vaughan had visited Greece for the first time. He made friends with the local boys and fishermen and spent his time sunbathing and swimming with them. On his return, fleshy tones and Aegean blues found their way into his palette as formalised blocks of pigment.

We are very grateful to Gerard Hastings, whose forthcoming book Keith Vaughan: The Graphic Art, is soon to be published by Pagham Press, for his assistance in preparing this catalogue entry.