Flemish school; second half of the 17th century.

Flemish school; second half of the 17th century.
"Holy Family".
Oil on panel.
Measurements: 56 x 37,5 cm; 61,5 x 42,5 cm (frame).
This oil on panel, belonging to the Flemish school of the second half of the 17th century, represents a scene of the Holy Family with a composition full of symbolism and a technical execution typical of the Flemish Baroque. The image shows the Virgin Mary holding the Child Jesus, with St. Joseph at her side, while two heavenly angels observe the scene from above. In the background, a landscape with an architectural element, possibly a classical statue, introduces a contrast between the divine and the earthly.
The depiction of the Holy Family was a recurring theme in Flemish Baroque painting, as it combined Catholic devotion with an expressiveness that appealed to the viewer's sensibility. In this case, the scene conveys a sense of serenity and family warmth, where the Virgin holds the Child with tenderness while St. Joseph observes with a contemplative expression.
The Child Jesus appears naked, a frequent iconographic resource in Christian art to emphasize his humanity and purity. His gesture, extending his arm towards his mother, reinforces the maternal bond and adds dynamism to the composition. In Mary's hand, a fruit, possibly an apple, suggests an allusion to original sin and the redemption brought by Christ.
The Flemish school of the 17th century was noted for its mastery in the use of color, lighting and meticulous attention to detail. In this work, the use of light is key to highlight the main figures, creating a contrast with the darker background and reinforcing the dramatism typical of the Baroque. The warm lighting around the faces of the Virgin and Child gives them a subtle halo that emphasizes their holiness.
The treatment of the fabrics is another distinctive feature of Flemish painting. The folds in Mary's garment, with richly saturated red and blue tones, demonstrate a great mastery of chiaroscuro and texture, evoking the influence of artists such as Rubens and Van Dyck. The detailed depiction of the basket in the foreground and the statue in the background denote Flemish interest in visual richness and spatial illusionism.
The landscape, although secondary, follows the tradition of the Flemish school in its integration with the religious scene. The presence of the statue in the background could symbolize the contrast between Christian faith and paganism, a recurring motif in Baroque religious art.
This work, from the late Baroque Flemish school, is an excellent example of the synthesis between devotion and refined aesthetics that characterized Flemish painting in the 17th century. The chromatic richness, the handling of light and the emotionality in the representation of the Holy Family make this painting a piece of great artistic and spiritual value.