Workshop of Bartholomeus Breenbergh (Deventer, 1598 – Amsterdam, 1657), Holy Family with the Infant Saint John

Workshop of Bartholomeus Breenbergh (Deventer, 1598 – Amsterdam, 1657)

Holy Family with Saint John

Oil on African marble, 30 x 24 cm

With frame, 45 x 38 cm

The strong emotional imprint of Arcadian taste and Roman inspiration reveals the artist's knowledge of Mediterranean landscape painting, a genre made popular in the Netherlands by figures such as Bartholomeus Breenbergh, Nicolaes Berchem and Jan Both. This statement is also confirmed by the clear atmosphere and the serene composition of the landscape, together with the delicate harmony of the colours and the general luminosity. The success of these iconographic subjects was also fueled by the work of Philips Wouwerman and the Bamboccianti painters, highly appreciated by collectors of the time. Finally, one should not overlook the vast circulation of drawings and prints that profoundly influenced Flemish and Dutch art up to the modern age.

Highlighting the refinement of the painting and the nature of the support used, the creation of this Holy Family can be attributed directly to the workshop of Bartholomeus Breenbergh, testifying to a prestigious patron. Born in Deventer to a wealthy Protestant family, his initial artistic training is uncertain, but it is presumed to have taken place in Amsterdam with the Pre-Rembrandtists, perhaps Jacob Pynas.

Between 1619 and 1629 he lived in Rome, collaborating with and copying the works of Paul Brill, who was influenced by the landscape painter Cornelis van Poelenburgh. Together they studied the Roman countryside with a new focus on southern light and ancient ruins, favouring chiaroscuro effects. Breenbergh and Poelenburch were the main exponents of the first generation of “Dutch Italianates”. In Rome he was a member of the Schildersbent with the nickname “Het Fret” (The Ferret). After Poelenburgh’s departure in 1625, Breenbergh’s style evolved towards extreme angles and stronger contrasts. Most of his drawings date from his Roman period, while paintings and engravings were made after his return to the Netherlands. Towards the end of his career he turned to figure painting and collaborated with Keirinckx and Potter.

The Holy Family is intimately portrayed in a context that suggests a classical landscape with ancient ruins in the background, an element not uncommon in works influenced by the Italian school. There is attention to detail, especially in the draperies and the serene expressions of the figures. The composition is balanced, with the main figures harmoniously arranged within the pictorial space. Stylistic analysis reveals striking parallels with several works in museum collections. The physiognomy of Saint Joseph, for example, finds a significant parallel in the figure of the elderly gentleman portrayed in the Sacrifice of Elijah in the Statens Museum for Kunst in Copenhagen. Similarly, the treatment of the landscape and the treetops is similar to that observed in works in the Bavarian State Painting Collections and the Thyssen-Bornemisza Museum in Madrid. Finally, the study of the draperies and figures leads to an illuminating comparison with the panel depicting The Punishment of Callisto in the Musée de Grenoble.

In summary, the image suggests a delicate and heartfelt representation of the Holy Family, and the attribution to an artistic context such as the Breenbergh workshop, combined with the unusual African marble support, greatly increases its artistic and historical value.