Important Flemish painting from the 17th century. Oil on canvas, first canvas, depicting the Rest during the flight into Egypt, taken from the composition created by Antoon Van Dyck around 1630 and today preserved at the Alte Pinakothek in Munich.
The scene presents the Virgin sitting at the foot of a large tree while supporting the sleeping Child with both hands, tenderly abandoned against her chest. Behind them appears Saint Joseph, almost entirely immersed in shadow, a silent and protective presence during the stop of the Holy Family on their journey to Egypt. On the right the vegetation thins out, leaving room for a large landscape that gives depth to the scene.
The composition derives from one of the most intense religious inventions of Van Dyck, a master capable of combining the Flemish tradition with the chromatic richness of Venetian painting and with a delicate observation of affections. In the present painting the prototype is adapted to a more horizontally developed format, expanding the landscape and giving breath to the scene.
The work stands out for its extremely high executive quality, evident in the soft modeling of the flesh tones, in the naturalness of the Child's body and in the skilful articulation of the drapery. The pictorial material effectively restores the different consistency of the fabrics: the warm and full-bodied red of the Virgin's robe, the deep blue of the cloak and the luminous white of the cloth are rendered through rich and calibrated chromatic passages.
Of notable refinement is the thin transparent veil placed on the Virgin's head, barely perceptible in its lightness. The fabric falls delicately from Mary's head and stretches partly over the Child's body, barely covering it and creating a visual passage of great intimacy.
Of great historical interest is the ancient label applied at the top left with the words "Hauskammerei-Inventar, Seite 1712, O.-No. 373". Similar tags are documented on works and furnishings from the collections of the Grand Ducal House of Baden, one of the oldest and most noble German families. The label thus allows us to hypothesize a provenance from a prestigious princely collection in the German area. At the bottom center there is also a second inventory number, "700", referable to its cataloguing.
The painting is placed in a large wooden frame, internally decorated with a golden frieze, from a later period but of notable scenographic impact. It has some wear and ancient worm holes (see photo).
A work of particular collecting interest, capable of combining the evocative force of Van Dyck with a possible dynastic provenance from Central Europe. The large dimensions, the sweetness of the subject and the broad landscape make it a painting suitable both for a collection of ancient paintings and for salons, professional studios, libraries and representative environments, whether classic or contemporary.
Painting already restored with replacement of the frame and color recovery in small spots, overall in good state of conservation. Light H 76 L 94.5 cm.
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SILVER Seller in Cuneo, Italy
