The Holy Family with Saint John the Baptist | |
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Artist | Nosadella |
Year | ca. 1550-1560 |
Type | Oil on panel |
Dimensions | 50 cm× 38 cm(19.5 in× 15 in) |
Location | Indianapolis Museum of Art, Indianapolis |
The Holy Family with Saint John the Baptist is an oil painting by Italian artist Giovanni Francesco Bezzi, also known as Nosadella, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. Painted roughly 1550-1560, it depicts Jesus, Mary, Joseph, and John in a powerful, Mannerist style. [1]
Oil painting is the process of painting with pigments with a medium of drying oil as the binder. Commonly used drying oils include linseed oil, poppy seed oil, walnut oil, and safflower oil. The choice of oil imparts a range of properties to the oil paint, such as the amount of yellowing or drying time. Certain differences, depending on the oil, are also visible in the sheen of the paints. An artist might use several different oils in the same painting depending on specific pigments and effects desired. The paints themselves also develop a particular consistency depending on the medium. The oil may be boiled with a resin, such as pine resin or frankincense, to create a varnish prized for its body and gloss.
Italy, officially the Italian Republic, is a European country consisting of a peninsula delimited by the Alps and surrounded by several islands. Italy is located in Southern Europe, and it is sometimes considered as part of Western Europe. The country covers a total area of 301,340 km2 (116,350 sq mi) and shares land borders with France, Switzerland, Austria, Slovenia, and the enclaved microstates of Vatican City and San Marino. Italy has a territorial exclave in Switzerland (Campione) and a maritime exclave in the Tunisian Sea (Lampedusa). With around 60 million inhabitants, Italy is the fourth-most populous member state of the European Union.
Nosadella, full name Giovanni Francesco Bezzi, was an Italian painter and draftsman, active during the Mannerist period, mainly in Bologna. He appears to have traveled to Rome.
This depiction of the Holy Family plus St. John has many Mannerist traits: vibrant colors, exaggerated monumentality, formal complexity, and awkward composition. [2] The figures are all massive and muscular (particularly evident in St. John's arm), then crammed together for a composition which is highly expressive, if somewhat uncomfortable. [3] Nosadella's Mannerist disregard for the sweetness and naturalism of earlier painters is particularly evident in the figures of Mary and Jesus. In a departure from the usual handling of this scene, Mary turns her back on the viewer rather than presenting the infant, who restlessly reaches back. This posture displays the torturous knot and bright colors on her dress, very Mannerist details. In comparison, Joseph and John have very contemplative, introverted postures considering their muscularity. [4]
The Holy Family consists of the Child Jesus, the Virgin Mary, and Saint Joseph. Veneration of the Holy Family was formally begun in the 17th century by Saint François de Laval, the first bishop of New France, who founded a Confraternity.
For years, the attribution of this painting shifted between Nosadella and his master Pellegrino Tibaldi, as is the case with many of their works. However, while Pellegrino's works are more fluid, Nosadella gave his figures a great deal of energy and a certain tortured physicality. Thus, this work is now confidently attributed to the student, not the teacher. [1]
Pellegrino Tibaldi, also known as Pellegrino di Tibaldo de Pellegrini, was an Italian mannerist architect, sculptor, and mural painter.
The IMA acquired The Holy Family with Saint John the Baptist in 1966, courtesy of the Martha Delzell Memorial Fund. It currently hangs in the Medieval Renaissance gallery and has the accession number 66.233. [4]
Jacopo Carucci, usually known as Jacopo da Pontormo, Jacopo Pontormo or simply Pontormo, was an Italian Mannerist painter and portraitist from the Florentine School. His work represents a profound stylistic shift from the calm perspectival regularity that characterized the art of the Florentine Renaissance. He is famous for his use of twining poses, coupled with ambiguous perspective; his figures often seem to float in an uncertain environment, unhampered by the forces of gravity.
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