Holy Family with Saint Francis

Seghers employs a pronounced chiaroscuro, contrasting a focused light that illuminates the central figures with deep, textured shadows that recede into the background. The handling of flesh tones, especially the pallid skin of the infant, is rendered with delicate modeling, while the surrounding rock and drapery are depicted in coarser, more atmospheric brushwork, reflecting his Caravaggesque training.

Originally active in the Caravaggisti circle after a period of study in Italy, Seghers later turned to large altarpieces for ecclesiastical patrons. This smaller devotional piece eventually entered the Kunsthistorisches Museum’s holdings, where it remains on display as a representative example of his mid‑career output.