The Holy Family With Bird, Follower Of Simon Vouet (paris, 1590-1649)

Follower of Simon Vouet (Paris, 1590 - 1649)
The Holy Family with bird
Oil on glass, cm 20,5 x 23,5; with frame cm 27,5 x 29,5

The small painting examined, made on glass and typical of private devotion in its dimensions, is distinguished by its executive quality and intrinsic artistic historical interest, as taken from the only known engraving of a lost painting by the French painter Simon Vouet (1590-1649). The engraving, now kept in a Parisian private collection, titled The Holy Family with the Bird, was published in the catalogue of the exhibition dedicated to Vouet (Vouet, a.c. by J. Thuillier, Rome, Palazzo delle Esposizioni 1991, ill. p. 58 and p. 65). Vouet was formed in Italy between 1613 and 1627, in contact with the world of Caravaggio. On his return to France he became a court painter, receiving commissions from Louis XIII and Cardinal Richelieu, introducing the Italian Baroque taste.
In comparison to the Parisian engraving, the follower of Vouet has put in the glass in question some variations, essentially concerning the setting. While in engraving the scene is defined in a landscape with tree elements, in the work analyzed the Holy Family is in an undefined environment, enclosed within an elegant oval. The differences are not limited to the context, but also concern the details and especially the expressions of the characters, which seem less severe than those present in the recording.
Saint Joseph is portrayed in profile, the sparse hair and the beard now whitened by time. His left arm is resting on a stone, his hand firmly resting on it, repeating the incision. With the other hand, he hands the Child a small bird placed on his index finger. The animal, which in the pagan culture represented the soul of the man who flies away at death, maintained this meaning also in the Christian context. The Virgin gently supports the Child, wrapped in a white thong and vivaciously attracted by the bird. The Christ is portrayed with the hand stretched out towards the animal, while also the Madonna smiles with tenderness.
The painting accords with the characteristics of the works of the French painter also from the point of view of color as well as composition. The figures are portrayed with monumental proportions and wide contours, as well as its influence in graceful gestures and colorful cheeks.

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