Who painted Massacre of the Innocents [recto]?

Massacre of the Innocents [recto] was painted by Zanguidi, called Bertoia, Jacopo in 1559.

Where can I see Massacre of the Innocents [recto]?

Massacre of the Innocents [recto] is held by National Gallery of Art.

What movement is Massacre of the Innocents [recto]?

Massacre of the Innocents [recto] is associated with Renaissance.

Artwork

Massacre of the Innocents [recto]

Zanguidi, called Bertoia, Jacopo , 1559

Massacre of the Innocents [recto] is an ink drawing by the Renaissance artist Zanguidi, called Bertoia, Jacopo. It dates from 1559 and is held in the collection of the National Gallery of Art.

About this work

Overview

The work titled *Massacre of the Innocents* (recto) is a drawing executed in 1559 by the artist known as Zanguidi, also referred to as Bertoia or Jacopo. Rendered with pen and brown ink, the image is enriched by a brown wash applied to a blue‑green paper support, presenting a monochromatic yet nuanced visual record of the biblical episode.

Technique & Style

The drawing employs fine pen lines to delineate figures and narrative action, while a subtle brown wash adds tonal depth and atmospheric shading.

The drawing employs fine pen lines to delineate figures and narrative action, while a subtle brown wash adds tonal depth and atmospheric shading. The choice of blue‑green paper provides a cool undertone that interacts with the warm brown pigments, a compositional strategy characteristic of mid‑sixteenth‑century Italian draftsmanship, where emphasis on line and chiaroscuro co‑exists with a restrained palette.

History & Provenance

Created in 1559, the piece originates from the late Renaissance period in Italy. Though specific ownership records are limited, the drawing bears the signatures of the artist’s multiple appellations—Zanguidi, Bertoia, and Jacopo—indicating its attribution was documented contemporaneously or shortly thereafter, a practice common among workshop artists of the time.

Context

The subject, the biblical Massacre of the Innocents, was a frequent motif in Renaissance art, allowing artists to explore dramatic human emotion and complex composition. In the mid‑sixteenth century, such themes resonated with contemporary concerns about authority, suffering, and moral instruction, reflecting the broader cultural and theological currents that shaped artistic production during this era.