The Rest on the Flight into Egypt with Saint John the Baptist
| Support Type: | Wood Panel |
| Paint Type: | Oil Paint |
| Current Location: | J.Paul Getty Museum |
| Location History: | Possibly owned by Filippo Averardo Salviati in 1512. By 1779, the painting was in the collection of George Nassau Clavering-Cowper, 3rd Earl Cowper, and subsequently descended by inheritance through successive members of the Cowper family: Peter Leopold Louis Francis Nassau Clavering-Cowper, 5th Earl Cowper (1789–1837); George Augustus Frederick Cowper, 6th Earl Cowper (1837–1856); Francis Thomas de Grey Cowper, 7th Earl Cowper (1856–1905); Ethel Anne Priscilla Fane Grenfell, Baroness Desborough (1905–1952); and Imogen Gage, Viscountess Gage (1952–1969). Following her death, it was held by the Trustees of the Firle Estate Settlement (1969–1996) and was sold through Deborah Gage Works of Art Ltd., London, to the J. Paul Getty Museum in 1996. |
Fra Bartolommeo painted this panel in 1509 A.D., not long after he had returned to Florence from a stay in Venice and the traces of that time can be seen through his loose and open treatment of the landscape here. The scene shows the Holy Family stopped to rest under a date palm and a pomegranate tree during the flight into Egypt, creating a quiet and domestic space on the panel. Mary holds the Christ Child in her lap, and the infant John the Baptist reaches out to him with a small reed cross, a meeting that isn’t actually in the Gospels at all. It comes from apocryphal writings instead, texts that Renaissance painters returned to many times for creating scenes like this one. Joseph stands off to one side, resting against the donkey’s saddle pack, watching the two children with a kind of settled patience rather than taking part himself. The symbols are worked in without feeling forced. A pomegranate lies half-eaten on the ground, a nod to the Resurrection, and the palm tree on the left points forward to the Passion since palm branches would later line Christ’s path into Jerusalem. Further back in the composition, painted smaller to suggest distance, the same family appears again fleeing Bethlehem on the donkey, escaping Herod’s slaughter of the innocents. A broken arch sits in that same background too, a fairly common Renaissance shorthand for the old pagan world giving way to the new order Christ represents. What holds the whole scene together is the pose Bartolommeo gives Mary and the two children. Their three bodies form a loose triangle, helped along by John’s outstretched leg and the turn of Mary’s own foot, and it gives the group a physical closeness that mirrors the emotional one. The Madonna’s face and neck are modelled with a softness typical of the Florentine style of the period, set against a landscape painted with real care rather than treated as a backdrop.