Who painted The Virgin and Child with John the Baptist?

The Virgin and Child with John the Baptist was painted by Cornelis Schut I in 1626.

Where can I see The Virgin and Child with John the Baptist?

The Virgin and Child with John the Baptist is held by National Gallery of Art.

What movement is The Virgin and Child with John the Baptist?

The Virgin and Child with John the Baptist is associated with Renaissance.

Artwork

The Virgin and Child with John the Baptist

Cornelis Schut I , 1626

The Virgin and Child with John the Baptist is a chalk drawing by the Renaissance artist Cornelis Schut I. It dates from 1626 and is held in the collection of the National Gallery of Art.

About this work

Overview

Cornelis Schut I produced a drawing titled *Virgin and Child with John the Baptist* in 1626. Executed in black chalk on laid paper, the work presents a compact grouping of three figures against a loosely rendered landscape. The composition is informal, reflecting the artist’s preparatory approach rather than a finished painted piece.

Subject & Meaning

The scene depicts the Virgin Mary holding the infant Jesus, while a youthful John the Baptist stands beside them, his hand gesturing outward. The trio’s close arrangement emphasizes their relational bond and the theological connection between the infant Christ and his future forerunner, John.

Technique & Style

Schut employed only black chalk, allowing the paper’s grain to remain visible and giving the drawing a raw, sketch‑like quality. The lines are swift and somewhat irregular, especially in the background where branches and rocks are suggested with brief, scratchy strokes rather than detailed modeling.

History & Provenance

Created as a study for a larger composition, the drawing was not intended for public display. Its survival as a standalone work provides insight into Schut’s preparatory methods during the early seventeenth century, a period when artists frequently produced such monochrome sketches before committing to oil.

Context

In the 1620s, Flemish artists often used chalk studies to plan complex religious subjects. Schut’s drawing aligns with this practice, contrasting with the soft, blended techniques of sfumato that were popular elsewhere in Europe at the time.