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The Holy Kinship, Frans Francken (II), 1616

  • Creation date1616
  • Dimensions42.0 x 33.0 cm

Frans Francken the Younger (1581-1642) was a prolific Flemish painter known for detailed historical, mythological & allegorical scenes. He pioneered 'Kunstkammer' paintings and often collaborated with other artists, making him a key figure of 17th-ce

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$ 63

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The Holy Kinship, Frans Francken (II), 1616

Giclée / Art Print

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$ 63

There is no reason to doubt Frans Francken II’s execution of the present work which is signed and dated 1616. The carpet was painted after the support was framed as it runs to a margin at the edge. The form of the signature is exceptional and does not recur in Francken’s extant oeuvre. As interpreted by McGrath,10 it may designate the painting as a tribute by the artist to his homonymous father (b. 1542), who died on 3 October 1616. The initials DM11 may well repeat those found on Roman funerary monuments, where they stand for ‘Dis Manibus’, which can be translated as ‘to the shades of the departed’ (or more loosely, ‘to the spirits of the dead’), and precede the name of the deceased. If such is the case, the name that follows in the inscription refers not to the painter of the picture, but to this father, and the initial ‘f’, which follows ‘invenit’, would stand not for ‘fecit’ but ‘filius’, that is the son, Frans Francken II, who invented the composition. This picture, with its use of powdered gold to mark the radiance of the key figures, is Francken’s only extant treatment of the Holy Kinship. Whether it had a particular relevance to Frans Francken I, or even to the numerous clan of Francken artists,12 has yet to be ascertained. It would be overambitious to seek to identify the likeness of Frans Francken I among the male relations of Christ; most obvious would be to identify him with the seated figure, but a comparison with Francken’s known appearance is not compelling.13 Depictions of the Holy Kinship had been a speciality of Netherlandish and northern German artists, but then declined in popularity following the Council of Trent’s rejection of the legend of St Anne’s three marriages in the mid-sixteenth century.14 The subject of the present painting was identified by Esser and published by Härting, who also retained the title proposed in the 1976 museum catalogue – Allegory on the Christ Child as the Lamb of God – which had probably been prompted by the central position of the lamb. But the animal is not depicted here as a symbol of Christ’s passion, as it is, for example, in the Van Eyck brothers’ Ghent altarpiece (completed in 1432).15 Francken was probably following the example of Maerten de Vos (1532-1603) in his two, extant treatments of the Holy Kinship,16 in which the lamb, an attribute of St John the Baptist, was prominently and conspicuously placed. Including his great-grandparents, Jesus had twenty-five named relations. This tally does not include his two parents and an unidentified uncle.17 Following the vision of St Colette, an abbess in Ghent, in 1406, which popularized the cult of St Anne,18 no set formula seems to have evolved as to how many relations should be depicted; for instance Quinten Massijs’s (1466-1530) altarpiece of 1509 in the Brussels Koninklijke Musea voor Schone Kunsten van België included twelve,19 while Lucas Cranach I’s (1472-1553) triptych of 1507 in the Städel Museum, Frankfurt, showed fourteen.20 Assuming that St Joseph is one of the men in the right background, Francken here introduces seventeen. Unusual is the segregated assemblage: on either side of the central group of Mary, Jesus, his grandmother St Anne and cousin St John the Baptist, are women and children on one side, and men, obscurely placed in the background, on the other. A second unusual feature is the seated figure in an ermine cape whose status as a bishop is indicated by the mitre on the ledge above. Notable too is the presence of the dove, above, symbolizing the Holy Ghost. The bishop may be identified as Zacharias, the father of St John the Baptist, who was a high priest. The man with his hands clasped in prayer may be St Joseph, because of his proximity to Mary and Jesus. It is not possible to suggest identifications for the other relations, because Jesus had four aunts and eight cousins, and Francken depicts, not counting Mary and St Anne, five women and five children. The reason for this discrepancy is obscure. Gregory Martin, 2022

Artist Biography

Bernardo Strozzi: A Venetian Baroque Visionary

Bernardo Strozzi, a name synonymous with the dramatic intensity and luminous color of 17th-century Venice, was more than just an artist; he was a pivotal figure in shaping the city’s distinctive Baroque style. Born in Genoa around 1581 and tragically dying in Venice in 1644, Strozzi's life was marked by both artistic brilliance and spiritual transformation. Initially trained under Cesare Corte and later Pietro Sorri – artists who steered him away from the rigid Mannerism of Luca Cambiaso towards a more naturalistic approach – he quickly established himself as a master painter whose works resonated deeply with Venetian sensibilities. His career unfolded across two key cities, Genoa and Venice, each leaving an indelible mark on his artistic development. Strozzi’s early years were spent in Genoa, where he honed his skills and gained recognition for his ability to capture human emotion with remarkable immediacy. He was a prolific painter of history, allegorical scenes, genre works depicting musicians, and portraits – all rendered with a captivating blend of realism and theatricality. His subjects weren't merely depicted; they were imbued with a palpable sense of drama and psychological depth. Crucially, Strozzi’s artistic journey took an unexpected turn when he embraced the Capuchin monastic order in 1598. This decision profoundly influenced his work, imbuing it with a spiritual intensity and a focus on religious themes. The nickname “Il Prete Genovese” (the Genoese Priest) reflected this transformation, highlighting his dual identity as both an artist and a devout monk. This period saw him producing numerous devotional paintings, often featuring scenes from the life of St. Francis of Assisi – a testament to the order’s core values. The shift to Venice in 1630 marked a new chapter in Strozzi's career. The Venetian atmosphere, with its vibrant artistic community and patronage system, provided fertile ground for his continued development. He quickly established himself as a leading figure in the city’s art scene, attracting commissions from prominent families like the Doria and Centurione. His Venetian works are characterized by an even greater emphasis on color, light, and dramatic composition – hallmarks of the Venetian Baroque style. Strozzi's palette was rich and luminous, drawing inspiration from the work of both Caravaggio, known for his masterful use of chiaroscuro, and Gentileschi, whose dynamic brushwork and emotional intensity resonated with Strozzi’s own artistic vision. He skillfully blended these influences, creating a unique style that was simultaneously powerful and deeply moving.

Key Artistic Characteristics & Techniques

Strozzi's art is immediately recognizable by several distinctive features. Firstly, his use of color is extraordinarily vibrant – deep reds, rich blues, and luminous yellows dominate his canvases, creating an atmosphere of intense drama and emotional resonance. Secondly, he employed a dynamic brushstroke technique, characterized by broad, energetic strokes that convey movement and vitality. This approach was particularly evident in his depictions of figures in motion, such as those found in his celebrated “Recapture of Bahía” painting for the Royal Buen Retiro Palace in Madrid. Furthermore, Strozzi masterfully utilized *chiaroscuro*, a technique involving strong contrasts between light and dark, to heighten the dramatic impact of his compositions. This was not merely a stylistic choice; it served to draw the viewer’s eye to key elements within the scene and to evoke specific emotions. His ability to capture fleeting expressions of emotion – joy, sorrow, fear – is truly remarkable, making his portraits particularly compelling.

Influences & Artistic Connections

Strozzi's artistic development was shaped by a diverse range of influences. His early training under Cesare Corte and Pietro Sorri exposed him to the late Mannerist style of Luca Cambiaso, but Sorri encouraged him to move towards a more naturalistic approach. The work of Rubens, who spent time in Genoa during Strozzi’s formative years, undoubtedly influenced his use of color and composition. However, Strozzi's style was distinctly Venetian, drawing inspiration from the works of Caravaggio and Gentileschi – artists who were instrumental in shaping the city’s Baroque aesthetic. He also maintained close relationships with other prominent Venetian painters, including Guido Reni and Annibale Carracci, whom he knew personally. His collaborations with artists like Tobias Verhaecht and Abraham Govaerts further enriched his artistic practice.

Legacy & Historical Significance

Despite a relatively short career, Bernardo Strozzi left an enduring legacy on the art of Venice. He is considered one of the founding fathers of Venetian Baroque painting, alongside artists like Titian and Veronese. His innovative use of color, dramatic composition, and psychological insight profoundly influenced subsequent generations of Venetian painters. His work continues to be admired for its emotional intensity, technical virtuosity, and captivating beauty. Strozzi’s story is a testament to the transformative power of art and faith, demonstrating how an artist's spiritual journey can shape his creative vision and leave a lasting impact on the world. His paintings offer a poignant glimpse into the turbulent yet vibrant cultural landscape of 17th-century Venice – a city that nurtured his talent and ultimately became the stage for his tragic demise in 1644.
frans francken the younger

frans francken the younger

1581 - 1642 , Belgium

Quick Facts

  • Artistic Movement Or Style: Baroque
  • Artists Or Movements Influenced By This Artist: ['Venetian painting']
  • Artists Who Influenced This Artist:
    • Caravaggio
    • Gentileschi
    • Rubens
  • Date Of Birth: c. 1581
  • Date Of Death: 1642
  • Full Name: Bernardo Strozzi
  • Nationality: Italian
  • Notable Artworks:
    • Recapture Bahía
    • Allegorical paintings
    • History paintings
  • Place Of Birth: Genoa, Italy
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