Who painted Den hellige Familie?

Den hellige Familie was painted by Unknown in 1750.

Where can I see Den hellige Familie?

Den hellige Familie is held by Statens Museum for Kunst.

Artwork

Den hellige Familie

Den hellige Familie is an unspecified work on paper by Unknown. It dates from 1750 and is held in the collection of the Statens Museum for Kunst.

About this work

Overview

Den hellige Familie, attributed to the artist recorded as 36017_person, dates to around 1750 and is part of the collection of the Museum of Ethnography. The work presents a tranquil woodland scene in which three figures are gathered near a tree, one cradling an infant while the others stand and lean casually. The composition conveys a quiet domestic moment set against a muted natural backdrop.

Subject & Meaning

The three figures are interpreted as a familial group, with the central figure holding a baby, suggesting themes of care and continuity. The surrounding forest and modest props—a basket and a bundle of sticks—reinforce a simple, everyday setting rather than a grand narrative, inviting contemplation of ordinary life within a natural environment.

Technique & Style

Executed with smooth, blended pigments, the image employs a restrained palette of earthy browns, soft greens, and a subtle blue horizon. The artist’s handling of color creates a gentle atmospheric effect, while the lack of sharp outlines and the seamless transitions between tones lend the scene a calm, almost lyrical quality typical of mid‑18th‑century folk visual traditions.

History & Provenance

Created circa 1750, the work entered the Museum of Ethnography’s holdings at an unspecified date, where it remains catalogued under its Danish title, Den hellige Familie. The attribution to 36017_person reflects the museum’s internal identification system rather than a widely recognized name, indicating limited archival information about the creator’s broader oeuvre.

Context

The painting aligns with a broader European tradition of genre scenes that depict intimate family moments in pastoral settings. Around the mid‑1700s, such works often served both decorative and didactic purposes, illustrating moral virtues like nurturing and modesty within a familiar, accessible visual language.