Who painted The Flight into Egypt?

The Flight into Egypt was painted by Giovanni Battista Fontana in 1556.

Where can I see The Flight into Egypt?

The Flight into Egypt is held by National Gallery of Art.

What movement is The Flight into Egypt?

The Flight into Egypt is associated with Renaissance.

Artwork

The Flight into Egypt

Giovanni Battista Fontana , 1556

The Flight into Egypt is an ink print by the Renaissance artist Giovanni Battista Fontana. It dates from 1556 and is held in the collection of the National Gallery of Art.

About this work

Overview

Giovanni Battista Fontana’s *The Flight into Egypt* is an etching executed on laid paper in 1556. The print captures the biblical episode of the Holy Family’s nocturnal escape, presenting a compact composition that balances movement with a still, contemplative atmosphere.

Subject & Meaning

The scene portrays Joseph leading a horse along a rugged path, Mary cradling the infant Jesus on her back, and a child—presumably the infant—clinging to her. Set within a dense woodland, the work emphasizes the vulnerability and urgency of the family’s flight while also suggesting divine protection amid natural obstacles.

Technique & Style

Fontana employs fine, cross‑hatching lines to render textures such as the folds of clothing, the bark of trees, and the horse’s fur. The delicate incisions create tonal variation that conveys depth, while the overall composition reflects the clear, luminous quality associated with the Venetian school.

History & Provenance

Born near Verona, Fontana trained within the Venetian artistic tradition before relocating to Austria in the early 1560s, where he produced altarpieces, frescoes, and prints. This 1556 etching predates his Austrian period and exemplifies his early engagement with religious subjects through printmaking.

Context

The work demonstrates the influence of High Renaissance masters such as Titian and Veronese, whose compositional balance and atmospheric treatment are echoed in Fontana’s handling of light and space. As a print, it also reflects the broader 16th‑century diffusion of religious imagery via reproducible media.