Holy Family

In a very tight foreground enhanced by the studied use of lighting devices, the Virgin Mary appears sitting and holding in her lap the Christ Child, who sweetly rests his hands on her body while gazing at Saint Elizabeth. Saint Elizabeth leans over little Saint John, who is kneeling and delicately laying his clasped hands on the Christ Child. Together as a group they establish an almost sculptural cohesion, magnified by the excessive size of the depicted figures. In the background, the absent figure of Saint Joseph beholds the scene with delight from the shadows, following traditional iconographic models.

José de Madrazo’s fascination at the time with Bolognese classicism and Raphaelesque production of Marian themes was a constant reference not only in his religious paintings, but also in his allegorical works, which he imbued with a touch of mysticism, emotion and intimacy. Coincidentally or not, it was during the same year in which he painted this Holy Family that he – as Director of the Museo del Prado – had begun to exhibit the great Italian Renaissance works that used to belong to the Royal Collections on the Museum’s walls. Presumably, his contemplation of these paintings spurred his creative activity, prompting this devotional and beautiful canvas. On the other hand, the warm hues of ochre and browns are reminiscent of models in Murillo’s circle, which he also revered over the course of his entire artistic career. These iconographic groups, either free-standing or as elements of other compositions, were an important part of José de Madrazo’s religious production. According to his hand-written catalogue, there are different mystical scenes to which many allegorical groups must be added due to their closeness and emotiveness: The Five Senses (private collection, Bilbao), Allegory of the Death of his Son Augusto (private collection, San Sebastián) or Eternal Happiness (Museo del Prado), which make use of the same thematic and compositional parameters. (Gutiérrez Márquez A. in: Memoria de actividades [Activities report], Fundación de Amigos del Museo del Prado, 2002, p. 34.)

Likewise, it has also been suggested that, under the rule of Isabella II, Queen of Spain, the inspiration from Italian classical models also characterised the painter’s approach to the Romantic taste of the few religious paintings produced during his final years. Most certainly spurred on by his son Federico’s successes, he attempted to catch up with the new ways and to break with the extreme rigidity of his style, although without renouncing the characteristic harshness of his most personal language. Thus, in this work of close intimacy intended for private devotion, he manifests an almost neo-Mannerist taste for a composition filled with figures that are each compressed in space.

Díez, José Luis, El Romanticismo académico en la pintura religosa isabelina. En: El arte de la era romántica, Madrid, Fundación Amigos del Museo del Prado, 2012, p.275-303