Artwork

Holy Family with St. Elizabeth, St. John the Baptist, and Two Angels in a Landscape

Holy Family with St. Elizabeth, St. John the Baptist, and Two Angels in a Landscape is an ink drawing by the Baroque artist Donato Creti. It dates from 1710 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created in 1710, this drawing by Bologna‑born Donato Creti presents a religious gathering set against a leafy landscape.

Created in 1710, this drawing by Bologna‑born Donato Creti presents a religious gathering set against a leafy landscape. Executed with pen and brown ink, accented by subtle brown wash on laid paper, the composition includes the Holy Family, Saint Elizabeth, the infant John the Baptist, and two attendant angels. The work exemplifies Creti’s early‑century interest in combining devotional narrative with a naturalistic setting.

Subject & Meaning

The scene unites central Christian figures: Mary, Joseph, and the infant Jesus, accompanied by Elizabeth and her son John, who is traditionally seen as the forerunner of Christ. The presence of two angels reinforces the sacred atmosphere, while the surrounding foliage suggests a harmonious connection between the divine and the earthly realm, a common motif in Baroque devotional imagery.

Technique & Style

Creti employs fine pen work and cross‑hatching to model forms, creating a network of intersecting strokes that suggest volume and shadow. Light brown wash adds tonal depth without overwhelming the linear structure. The ink, now slightly faded, imparts a muted, aged quality, while the loose, rapid lines convey a sense of immediacy within the otherwise controlled academic style that anticipates neoclassical restraint.

History & Provenance

The drawing originates from Creti’s productive period in early 18th‑century Bologna, when he was establishing his reputation for academicized, neoclassical‑leaning compositions. Though specific ownership records are scarce, the work reflects the artist’s practice of producing preparatory sketches for larger altar pieces, illustrating his method of integrating figure study with landscape elements.