Who painted Repentant Sinners in front of the Virgin and Child?

Repentant Sinners in front of the Virgin and Child was painted by Pieter van Lint in 1630.

Where can I see Repentant Sinners in front of the Virgin and Child?

Repentant Sinners in front of the Virgin and Child is held by Hermitage Museum.

What movement is Repentant Sinners in front of the Virgin and Child?

Repentant Sinners in front of the Virgin and Child is associated with Flemish Baroque painting.

Can I buy a print of Repentant Sinners in front of the Virgin and Child?

Museum-quality prints of Repentant Sinners in front of the Virgin and Child are available made-to-order from Artifact World Gallery.

Artwork

Repentant Sinners in front of the Virgin and Child

Pieter van Lint , 1630

Repentant Sinners in front of the Virgin and Child is an oil painting by the Flemish Baroque painting artist Pieter van Lint. It dates from 1630 and is held in the collection of the Hermitage Museum.

About this work

Overview

Repentant Sinners in front of the Virgin and Child is a 1630 oil painting by Flemish Baroque artist Pieter van Lint, characterized by its emotive depiction of a religious scene.

Subject & Meaning

The painting portrays the Virgin Mary seated on a throne, cradling the Christ Child, who extends a hand to kneeling repentant sinners. The scene conveys themes of repentance and redemption through the sinners' emotional expressions and gestures of devotion.

Technique & Style

Van Lint employed chiaroscuro to create depth and volume, while impasto and glazing techniques added texture and luminosity, reflecting both his Antwerp training and Italian influences.

History & Provenance

Created in 1630, the work is now part of the collection at the State Hermitage Museum.

Context

As a Flemish Baroque piece, it reflects the artistic currents of 17th-century Antwerp, with the influence of Italian Baroque evident in its dramatic lighting and emotional intensity.

Legacy

The painting invites contemplation on repentance and redemption, offering a poignant example of early 17th-century religious art's capacity to evoke emotional response.