Artwork Title: Holy Family with Saint John the Baptist

Holy Family with Saint John the Baptist, 1528-1537

Perino Del Vaga

Usually the initial drawing is invisible once the work has been painted, varnished and beautifully finished. In Perino del Vaga’s Holy Family with St John the Baptist, 1528-37, there is such a great contrast between where only the drawing is visible and where paint has been applied. There is a tendency to assume everything in the painting is built up to the same level at the same time. But artists sometimes keep one figure completely blank while finishing another, leaving a fascinating ghostly presence in their work. Del Vaga’s work was considered the perfect teaching tool for Renaissance painting, and was the first purchased addition to Samuel Courtauld’s collection. When you look closely, it has everything: there’s a graphic outline in pen and ink, and the thinness of the paint means there are visible brushstrokes on the head of the figure, and pricking marks. There is a clear build-up of glaze as well as touches of highlight. In terms of explaining technique, it has it all. To the left of the main figure you can just make out an arrangement of small figures — probably a rendition of the Massacre of the Innocents before del Vaga decided to add St Joseph instead. It’s fascinating to see the artist working things out directly on the canvas. Del Vaga was in the orbit of Michelangelo and Raphael. Even if these artists didn’t finish a work, it was often kept as a memento of their genius. (http://www.christies.com/features/Courtauld-unfinished-the-graft-behind-the-glitter-6295-1.aspx)
Uploaded on Jan 20, 2017 by Suzan Hamer

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