Numerous legends have embellished the Holy Family’s flight into Egypt recorded in Matthew 2:13-15. Seventeenth-century artist Bartolommeo Guidobono’s depiction draws upon one of the most intriguing.
Tag Archives: landscape
The Return from the Flight into Egypt
Oil on canvas, c. 1712
Giuseppe Bartolomeo Chiari
Roman, 1654-1727
Rome was for centuries the epicenter of culture, art, and religion. At the time of Giuseppe Chiari’s birth, it was also “the scene of a lively debate with a constantly varying interplay of influences, trends, fashions, specialized treatises, and, of course, great masterpieces” (Zuffi, p. 64). At the center of this debate were three artistic movements that Zuffi notes “succeeded one another in a sort of ideal relay race of artistic styles.” The stark naturalism of Caravaggio, the elegant classicism of Annibale Carracci, and the dramatic baroque sculptures and architecture of Gian Lorenzo Bernini would all play a part in making 17th-century Rome—well, Rome!
As president of the Roman Academy Carlo Maratta was keenly aware of these lively debates. Considered one of the most important painters in the latter half of the 17th century, he was much admired for his beautiful frescos and stunning portraits. Although his work evidenced a clear admiration for the classical tradition, several of his paintings also integrated elements of Caravaggio’s vigorous style. David Steel points out that Maratta often “managed to steer a middle course between these two dominant and often contrary trends of baroque painting” (Steel, p. 88).
Maratta was at the summit of his career in 1666 when 12-year-old Giuseppe Chiari entered the great master’s studio. Chiari soon became a star pupil. Over the years, his profound respect for Maratta’s tutelage would not only shape his artistic development but also ensure his future success in a highly competitive environment. When Maratta died in 1713, Chiari took up Maratta’s mantle and became the dominant Roman artist.
Like Maratta, Chiari broadened his appeal by becoming an astute observer and deft practitioner of integrating stylistic trends. Kathrine and William Wallace highlight this skill in their comparative analysis of Chiari’s Tedallini altarpiece with Caravaggio’s Madonna dei Pellegrini [figs. 1 and 2]:
“The statuesque pose of Chiari’s Madonna, the unusually high step on which she stands, the elongated form of the Christ child framed by a white swaddling cloth, and the overall right-triangular composition recall Caravaggio’s Madonna dei Pellegrini. Yet the suggestion is subtle: Chiari has reversed the composition, naturalized the pose of the Virgin, and substituted the more palatable, well-dressed saints for the dirty feet and common character of Caravaggio’s pilgrims. Although inspired by Caravaggio, Chiari’s altarpiece remains distinctly his own. Chiari’s Madonna looks like a person of warm flesh and blood rather than the marmoreal statue of Caravaggio’s Madonna; Christ is an attractive child of sweet disposition as opposed to the enormous and ungainly figure depicted by the older master. Instead of the muted and earthy colors of the Madonna dei Pellegrini, Chiari’s bright hues are immediately pleasing and a welcome contrast to the comparatively dark paintings found on so many Roman altars” (p. 4).
The Return from the Flight into Egypt provides another example of Chiari’s virtuosity and unique style. Here, however, he turns from echoing the past to adumbrating the future. The refined handling of the paint and elegant figural poses pay homage to the classical tradition; however, the playfulness, delicate coloration, and ornamental enrichment mark the transition into the sensuous, intimate style of the rococo movement which emerged in France and spread throughout Europe in the 18th century (Chilvers, 507).
M&G has two works by Chiari on this subject, one titled The Rest on the Flight into Egypt and this rendering titled The Return from the Flight into Egypt. Over the years scholars have found the less traditional title of this 1712 work problematic. However, “the light-hearted, almost celebratory mood” (echoed in the Rococo style) reinforce the idea that here, Chiari intends to highlight the family’s return from rather than flight into Egypt. Regardless of the debate, art experts like Christopher Johns note that this picture may be the best example of Chiari’s work in America.
Donnalynn Hess, M&G Director of Education
Resources:
Baroque Paintings from the Bob Jones University Collection by David H. Steel
Concise Dictionary of Art and Artists, 3rd edition by Ian Chilvers
“Giuseppe Bartolomeo Chiari,” The Art Bulletin, March, 1968, Vol. 50, No. 1 by Bernhard Kerber and Franciscono Renate
“Seeing Chiari Clearly,” Artibus Et Historiae, 2012, Vol. 33, No. 66 by Katherine M. Wallace and William Wallace
Published 2024
Elijah Fed by the Ravens
Rafael Govertsz. Camphuysen
Below the image, click play to listen.
The Arrival at Emmaus
Oil on panel
Aert van der Neer
Dutch, c. 1604– d. 1677
Irony in life exists in the world of art as well as in other spheres. There are well-known artists that have died poor or their works were lightly esteemed. Such is the painter of M&G’s The Arrival at Emmaus, Aert van der Neer. He is one of many Dutch landscape artists of the seventeenth century. Born in Gorinchem in the northeastern part of the country and residing mainly in Amsterdam, he is part of the Dutch Golden Age. He was a steward in the early part of his adult life then became more involved in painting in his late thirties or early forties. His wife, Lisabeth, was the sister of artist, Rafael Govertsz Camphuysen (also represented in M&G’s collection).
Rafael Govertsz Camphuysen, Elijah Fed by the Ravens, M&G Collection
While Aert died in poverty, one of his sons, Eglon excelled as an artist and ultimately settled in Dusseldorf as a court painter.
The style of van der Neer and his friendship with painter Aelbert Cuyp led them to work together on a number of paintings. Aert often painted the basic composition, and Aelbert would add the finer details. Works exist with the initials of both artists inscribed on them. However, M&G’s painting is signed only by Aert van der Neer as Neer. (include image: signature detail)
For the whole of his life, Aert never varied his painting style as seen in his many moon-lit landscapes and peopled scenes depicting a centrally placed river. Regardless of some of his repetitive compositional choices, he illustrated favorite parts of his country in an unmistakable way. His landscape style was so frequently imitated during and after his life that author Christopher Wright explains, “Thus—although this is not often realized—van der Neer can be said to have been one of the most influential Dutch painters.”
The Arrival at Emmaus joined M&G’s collection in 1974. It is one of the few scriptural subjects depicted by the artist. Luke 24:13-35 tells the narrative of Christ joining two, heavy-hearted disciples en route to Emmaus from Jerusalem. Christ asked about their conversation, and not recognizing Him, the two shared the tragic account of Christ’s crucifixion and their belief that His missing body could not be located. Little did they know as Christ explained the Old Testament messianic scriptures on their journey, that He was there with them. When they arrived in Emmaus after a nearly seven-mile journey, the two men graciously urged Him to “abide with” them. Christ took the position of host at their supper table and blessed and broke the bread. At that moment, He opened their eyes (v. 31) to understand Who He was—their risen Messiah. Then, with uncontained joy and full comprehension of why their hearts “burned within” as He had spoken the scriptures on the road, they immediately left Emmaus and returned to Jerusalem! There they exclaimed to the disciples that “the Lord is risen indeed” (v. 34).
Visible in this painting is the representation of Emmaus as a Dutch town. A seventeenth-century cathedral is prominent in the background as daylight is receding and the ducks begin nesting down for the night. The two disciples are seen inviting Christ to be their guest, a guest who would vanish from their sight and leave them with a greater realization of who He is. As the season of Advent approaches, may we too recognize who Christ truly is.
John Good, M&G Security Manager
Additional Resource:
The Dutch Painters, 100 Seventeenth Century Masters
Published in 2020
Landscape with the Baptism of Christ
Salvator Rosa
Below the image, click play to listen.
Landscape with the Baptism of Christ
Oil on canvas, c. 1655–60
Salvator Rosa
Neapolitan, 1615–1673
Click on the links throughout the article to view additional artists’ works and reference material.
The Landscape with the Baptism of Christ represents an innovative, naturalistic school of landscape painting developed in seventeenth-century Naples by Salvator Rosa and Micco Spadaro. Rosa, the creator of this work, is said to have used oil on paper to sketch his landscapes directly from nature. This preparatory technique may well account for the lush details evident in Rosa’s rocky, river scene. The meticulous realism of his looming wilderness also serves as a visual metaphor of Christ’s humility. Here the Creator is willingly enveloped by His creation.
The Baptism (which came into the museum collection in 1955) was first brought from Italy to America in 1836. Art scholar Ian Kennedy notes: “At that time the 18th century taste for the picturesque still remained in fashion in the new world and found ready acceptance in a young country engaged in conquering the wilderness.” Although aesthetic emphases and stylistic techniques have varied widely since that time, the transcendent allure of capturing nature’s beauty inspired by Baroque landscape painters like Rosa remains.
David Clayton in The Way of Beauty observes, “The baroque landscape is based upon an assumption that mankind is the greatest of God’s creatures and has a uniquely privileged position within it. The rest of creation is made by God, so that we might know Him through it. Creation’s beauty calls us to itself and then beyond, to the Creator. Man is made to apprehend the beauty of creation.”
Donnalynn Hess, Director of Education
For more on David Clayton’s book, The Way of Beauty, visit http://thewayofbeauty.org/buy-the-way-of-beauty-book/.
Published in 2016
