Correggio and Rubens: A Comparison of Paintings of the Holy Family

Virgin and Child with the Young Saint John the Baptist was completed in 1515 by Antonio Allegri Correggio and depicts the sitting form of the Virgin Mary holding a very young Christ and Saint John the Baptist. About a century later, Peter Paul Rubens painted the Holy Family with Saints Elizabeth and John the Baptist, also depicting the same three biblical figures as Correggio except this time accompanied by Mary's husband, Joseph, and Saint John's mother, Saint Elizabeth. Both works utilized oil on canvas as a medium and are currently held in the Art Institute of Chicago. The two works of art demand a sense of religious veneration through the depiction of a scene foreshadowing the future relationship and fate of Saint John and Christ—namely Christ's baptism and crucifixion. Whereas Correggio pursues this theme by establishing a relaxed atmosphere that quells strong emotion that might otherwise be present, Rubens made the decision to construct a dramatic, emotion driven scene that is highly suggestive of a somber future.

In Correggio's painting, Mary is the largest subject with her form taking up a considerable part of the foreground. Though much larger than the forms of the Child Christ and Saint John, Mary does not assertively tower over the two; rather, Mary is a relatively passive picture in the painting as she affectionately gazes down at the two children in a slightly contrapposto posture. Her arms gently encircle the two in a protective gesture that at the same time does not prevent play between the children, suppressing any sense of tension that could arise from the arrangement. The serenity found in Mary is also carried through to the children as the the three figures combine in a triangular arrangement that suggests a...

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...n. The twists in the body of Christ toward his mother and Saint John's extension upwards, add an almost theatrical quality to the piece that is not at all present in Correggio's adaptation. Rubens additionally decided to incorporate the additional figures of Joseph and Saint Elizabeth, who are arranged to almost provide a frame as they are each to one side of the central group and appear to be offering their assistance to Mary and the children. The facial expressions of these two seem particularly individualized and express intense and earnest emotions. A dramatic flair is additionally given to these characters as they are simply arranged statically, rather they are bent at angles and Joseph especially is twisting with a hand outstretched towards the lamb. It should be noted the the lamb is probably intended to serve as a symbol for the future sacrifice of Christ.