Who painted The Holy Family with Four Saints and a Female Donor?

The Holy Family with Four Saints and a Female Donor was painted by Antonio Rimpacta in 1510.

Where can I see The Holy Family with Four Saints and a Female Donor?

The Holy Family with Four Saints and a Female Donor is held by Art Institute of Chicago.

What movement is The Holy Family with Four Saints and a Female Donor?

The Holy Family with Four Saints and a Female Donor is associated with High Renaissance.

Artwork

The Holy Family with Four Saints and a Female Donor

Antonio Rimpacta , 1510

The Holy Family with Four Saints and a Female Donor is an unspecified painting by the High Renaissance artist Antonio Rimpacta. It dates from 1510 and is held in the collection of the Art Institute of Chicago.

About this work

Overview

Antonio Rimpacta’s 1510 oil painting, titled *The Holy Family with Four Saints and a Female Donor*, is part of the Art Institute of Chicago’s collection. The work arranges a small group of figures within an intimate interior, using a restrained palette of muted reds, greens and blues. Light falls softly across the scene, giving the composition a calm, reverent atmosphere.

Subject & Meaning

At the centre, a woman in a red‑green robe cradles a naked infant, presumed to be the Christ child, while a female donor looks on. Flanking them are four saints, three kneeling and one standing, each holding symbolic objects—a staff, a golden cup, and other devotional gestures—suggesting intercession and the sanctity of the family unit.

Technique & Style

Rimpacta employs a delicate chiaroscuro, allowing light to model the smooth faces and gently illuminate the drapery. The figures are rendered with soft, almost sculptural contours, and the muted yet saturated colors create a sense of depth without harsh contrast. Subtle shadows under the infant’s bare feet enhance the impression of a weightless, ethereal presence.

History & Provenance

The painting was completed in 1510, during the early Renaissance period in Italy. It entered the Art Institute of Chicago’s holdings in the 20th century, though the precise chain of ownership before its acquisition remains undocumented in public records.

Context

Rimpacta’s work reflects the devotional trends of early 16th‑century Italy, where private patrons often commissioned images that combined personal piety with the presence of saints. The inclusion of a female donor aligns with contemporary practices of embedding the patron within the sacred narrative, thereby securing spiritual merit and social prestige.