This painting by Claes van der Heck (1575–1652), exemplifies a vivid depiction of a recurring subject in Christian art: the trials and temptations faced by Saint Anthony the Great during his time of ascetic isolation in the Egyptian desert.

The Saint is kneeling while surrounded by a chaotic and surreal scene of demons, monstrous creatures, and tormentors. who taunt him and try to persuade him to live a life of sin. The dark cave setting enhances the atmosphere of mysticism and turmoil, contrasting with the lighter background. In the top right corner a church is burning; on the left a group of flying demons carrying the Saint. Saint Anthony does not let himself stray and keeps praying in front of the Bible and the crucifix. Behind the Saint are standing Mary Magdalene and her chaperone, she presents Saint Anthony an ointment jar. The ointment jar symbolises the act of anointing Christ’s feet as an act of devotion

Claes van der Heck’s mastery of color and composition is evident in the way the rocky textures of the cave, the elaborate figures, and the dramatic lighting create depth and movement. The painting reflects the influence of 16th- and 17th-century Northern Renaissance and Mannerist styles, with intricate details, dynamic composition, and fantastical imagery.   “The Temptation of Saint Anthony” was a popular subject during this time, particularly among Northern European artists like Hieronymus Bosch and Pieter Bruegel the Elder, whose works influenced van der Heck.

Claes Jacobsz van der Heck is a Dutch Golden Age painter. Born in Alkmaar, Van der Heck was known for his versatile talent, producing works that ranged from biblical and allegorical scenes to landscapes and depictions of peasant life. In the first half of the seventeenth century he was the most important painter of Alkmaar. His ability to blend fantastical imagery with naturalistic detail is showcased in works such as The Temptation of Saint Anthony, where he skillfully balances religious allegory with vivid storytelling.
In addition to his paintings, Van der Heck contributed to the artistic culture of Alkmaar, an important center for art and architecture in the Netherlands.

This painting was in St. Petersburg in the 19th century. Here it was owned by Andrei Somoff, the curator of Dutch paintings from the Hermitage. In 1897 Dr. Abraham Bredius visited Somoff at home and according to his notes, he saw various paintings including a Temptation of Anthony by Claes Heck. After the death of Somoff in 1909, the painting came into the hands of the great collector Paul Delaroff. He was a Russian collector and specialist in Flemish and Dutch art and private counsellor to Emperor Nicolas II of Russia. His profound knowledge of the Dutch masters led to his being hired by Count Valentin Souboff to teach a course at his Institute of Art History in St. Petersburg.

At the time of Delaroff’s death in 1913 he owned an important art collection that was auctioned in Paris in 1914 and in St. Petersburg in 1916. After that this painting was in the possession of J. Bruinse in The Hague and in 1927 it appears in the auction catalogue of Mak in Amsterdam. At this auction it was bought by the family of the last owner who had had it in their collection for four generations.