Who painted The Holy Family?

The Holy Family was painted by Ludwig Büsinck in 1622.

Where can I see The Holy Family?

The Holy Family is held by National Gallery of Art.

What movement is The Holy Family?

The Holy Family is associated with Baroque.

Artwork

The Holy Family

Ludwig Büsinck , 1622

The Holy Family is an ink print by the Baroque artist Ludwig Büsinck. It dates from 1622 and is held in the collection of the National Gallery of Art.

About this work

Overview

Executed on laid paper, the image is rendered in a chiaroscuro palette of earthy browns and deep blacks, creating a stark contrast between light and shadow.

Ludwig Büsinck’s 1622 woodcut, titled The Holy Family, presents a compact grouping of the Virgin Mary, infant Jesus, and Saint Joseph. Executed on laid paper, the image is rendered in a chiaroscuro palette of earthy browns and deep blacks, creating a stark contrast between light and shadow. The composition is confined to a modest vertical format, emphasizing the intimacy of the family within a turbulent atmospheric backdrop.

Subject & Meaning

The work depicts the traditional Christian motif of the Holy Family, focusing on their close physical proximity and shared gaze. The figures are rendered with minimal detail, yet their softened facial lines convey tenderness and devotion. The surrounding sky, suggested by rough, cloud‑like textures, may allude to divine protection or the trials faced by the family, reinforcing the theme of spiritual resilience.

Technique & Style

Büsinck employed a color chiaroscuro woodcut, a method that layers a light ground tone with darker ink to model volume through stark contrasts. The print’s lines are fluid, giving the impression of a rapid sketch, while the careful gradation of shadows adds depth. The use of laid paper, with its visible ribbing, contributes to the tactile quality of the image, enhancing the sense of atmospheric gloom.

History & Provenance

Created in the early seventeenth century, this print reflects the period’s devotional print market, which circulated religious imagery for private contemplation. While specific ownership records are scarce, the piece is known from museum collections that acquired it through 19th‑century European art dealers. Its survival in good condition attests to the durability of Büsinck’s woodcut technique and the continued interest in early Baroque religious prints.