Who painted Christus segnet die Kinder ("Lasset die Kinder zu mir kommen")?

Christus segnet die Kinder ("Lasset die Kinder zu mir kommen") was painted by Theodoor van Loon in 1624.

Where can I see Christus segnet die Kinder ("Lasset die Kinder zu mir kommen")?

Christus segnet die Kinder ("Lasset die Kinder zu mir kommen") is held by Bavarian State Painting Collections.

What movement is Christus segnet die Kinder ("Lasset die Kinder zu mir kommen")?

Christus segnet die Kinder ("Lasset die Kinder zu mir kommen") is associated with Dutch Golden Age.

Artwork

Christus segnet die Kinder ("Lasset die Kinder zu mir kommen")

Theodoor van Loon , 1624

Christus segnet die Kinder ("Lasset die Kinder zu mir kommen") is an unspecified painting by the Dutch Golden Age artist Theodoor van Loon. It dates from 1624 and is held in the collection of the Bavarian State Painting Collections.

About this work

Overview

Created in 1624 by Flemish painter Theodoor van Loon, this religious canvas—titled *Christus segnet die Kinder* ("Let the children come to me")—is part of the collection of Munich’s Alte Pinakothek. The work illustrates a biblical scene in which Christ blesses a group of children, a subject drawn from the Gospel of Matthew.

Subject & Meaning

At the center of the composition a newborn lies in the arms of a woman, while Christ and surrounding adults turn their attention toward the infant. The gathering reflects the theological emphasis on the innocence of children and their privileged place in Christian salvation, echoing Jesus’ invitation to welcome the young into his fold.

Technique & Style

Van Loon employs a balanced arrangement of figures, using soft chiaroscuro to model faces and drapery. The clothing—high‑necked gowns for women and loose shirts for men—reflects early‑17th‑century Flemish attire, rendered with careful attention to texture. The palette of muted earth tones and gentle highlights creates a contemplative atmosphere.

History & Provenance

The painting entered the Alte Pinakothek’s holdings in the 19th century, where it remains on display. Its provenance prior to acquisition is not extensively documented, but the work’s attribution to van Loon has been consistently affirmed by scholars specializing in Baroque religious art.

Context

Executed during the Counter‑Reformation, the image aligns with the Catholic Church’s focus on didactic, emotionally resonant works that reinforced devotion. Van Loon, a pupil of Peter Paul Rubens, integrates dynamic composition with a serene devotional tone, typical of Flemish Baroque painting of the period.