Who painted The Holy Family with Catherine?

The Holy Family with Catherine was painted by Cesare da Sesto in 1510.

Where can I see The Holy Family with Catherine?

The Holy Family with Catherine is held by National Art Museum of Azerbaijan.

What movement is The Holy Family with Catherine?

The Holy Family with Catherine is associated with Mannerism.

Artwork

The Holy Family with Catherine

Cesare da Sesto , 1510

The Holy Family with Catherine is an oil painting by the Mannerist artist Cesare da Sesto. It dates from 1510 and is held in the collection of the National Art Museum of Azerbaijan.

About this work

Overview

Cesare da Sesto’s oil painting, dated around 1510, presents a small group assembled in an intimate interior. Central to the composition is a woman in a red gown with a blue mantle, cradling a naked infant. Flanking figures include a bald man in a white shirt and a woman in blue holding a book, creating a balanced, narrative tableau.

Subject & Meaning

The work portrays the Holy Family together with Saint Catherine of Alexandria, a figure traditionally associated with learned piety. The inclusion of a book in Catherine’s hand underscores her scholarly reputation, while the tender interaction between mother and child emphasizes themes of devotion and divine lineage within a domestic setting.

Technique & Style

Da Sesto employs chiaroscuro, using strong contrasts of light and shadow to model forms and suggest depth. The luminous skin tones emerge from darker surroundings, and the drapery’s folds are rendered with subtle gradations, reflecting the influence of Leonardo’s tonal approach while maintaining a distinct compositional clarity.

History & Provenance

Created in the early sixteenth century, the painting eventually entered the collection of the National Art Museum of Azerbaijan, where it remains on display. Its provenance traces a path from Italian workshops to a public institution, illustrating the broader movement of Renaissance works into diverse museum holdings.

Context

Cesare da Sesto, a follower of Leonardo da Vinci, absorbed the master’s techniques and adapted them to his own religious subjects. This piece reflects the period’s interest in integrating sacred narratives with humanist elements, such as Catherine’s scholarly attribute, aligning with contemporary devotional practices.