Holy Family

CC0 Public Domain Designation

Painting and Sculpture of Europe

c. 1525

Workshop of Joos van Cleve (Netherlandish, active by 1507–1540/41)

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: Workshop of Joos van Cleve
Title: Holy Family
Place: Holland (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1520–1530
Medium: Oil on panel
Inscriptions: Inscribed on knife handle: J
Dimensions: 48.3 × 36.4 cm (19 × 14 3/8 in.)
Credit Line: Mr. and Mrs. Martin A. Ryerson Collection
Reference Number: 1933.1038
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/16253/manifest.json

The Art Institute of Chicago, General Catalogue of Paintings, Sculpture, and Other Objects in the Museum, 1914, p. 209, no. 2100.
“Loan Collections,” Bulletin of the Art Institute of Chicago 7 (1914), p. 38.
The Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings, vol. 2, August 1920, p. 61.
The Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings, May 1922, p. 70.
The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1925, p. 159, no. 2013.
Rose Mary Fischkin, “Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVII Century, Loaned to The Art Institute of Chicago,” unpub. MS, 1926, Ryerson Library, The Art Institute of Chicago, pp. 87–89.
Max J. Friedländer, Die altniederländische Malerei, vol. 9, Berlin, 1931, p. 138, no. 66l; rev. English ed., Early Netherlandish Painting, Brussels and Leiden, 1972, p. 65, no. 66l, pl. 85.
The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection, 1932, p. 179, no. 461.13.
Alfred M. Frankfurter, “Art in the Century of Progress,” Fine Arts 20, 2 (1933), pp. 21 (ill.), 60.
Daniel Catton Rich, “Die Ausstellung ‘Fünf Jahrhunderte der Frühmalerei in Chicago,’” Pantheon 6 (1933), p. 376.
An American Correspondent, “Flemish and Dutch Paintings in the Ryerson Collection,” Connoisseur 119 (1947), p. 50.
Harry B. Wehle and Margaretta Salinger, A Catalogue of Early Flemish, Dutch and German Paintings, New York, Metropolitan Museum of Art, 1947, p. 135.
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, pp. 79–80.
Bob Jones University, Art Gallery and Museum, The Bob Jones University Collection of Religious Paintings, vol. 2, Greenville, S.C., 1962, p. 250, under no. 138.
Martin Davies, Early Netherlandish School, National Gallery Catalogues, 3rd rev. ed., London, 1968, pp. 101–02.
M[aryan] W. A[insworth], in Maryan W. Ainsworth and Keith Christiansen, eds., From Van Eyck to Bruegel: Early Netherlandish Paintings in the Metropolitan Museum of Art, exh. cat., New York, Metropolitan Museum of Art, 1998, p. 250, under no. 62.
John Oliver Hand, Joos van Cleve: The Complete Paintings, New Haven, 2004, pp. 132, 134, no. 33.11.
Micha Leeflang and Peter Klein, “Dating Panel Paintings: The Workshop of Joos van Cleve,” in Colloque XV 2006, pp. 124, 128–29.
Micha Leeflang, “‘Uytnemende Schilder van Antwerpen’: Joos van Cleve; Atelier, productie, werkmethoden,” Ph.D. diss., Rijksuniversiteit Groningen, 2007, pp. 135–36.
Martha Wolff in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 167-71, ill.
Lorne Campbell, National Gallery Catalogues. The Sixteenth Century Netherlandish Paintings with French Paintings before 1600, London, 2014, pp. 229, 233.

New York, Kleinberger, Loan Exhibition of Flemish Primitives, 1929, no. 56, as Joos van Cleve.
Art Institute of Chicago, A Century of Progress, 1933, no. 36, as Joos van Cleve.
Art Institute of Chicago, A Century of Progress, 1934, no. 117, as Joos van Cleve.

Marczell de Nemes, Budapest; sold, Galerie Manzi-Joyant, Paris, June 17–18, 1913, no. 18, as Master of the Death of the Virgin, to Kleinberger, Paris, as agent for Ryerson [Kleinberger stock card, Department of European Painting, Metropolitan Museum of Art, New York; and invoice, June 18, 1913, Art Institute Archives]; Martin A. Ryerson (d. 1932), Chicago, 1913; on loan to the Art Institute from 1913; bequeathed to the Art Institute, 1933.

Object information is a work in progress and may be updated as new research findings emerge. To help improve this record, please email . Information about image downloads and licensing is available here.

Currently Off View

Status

Department

Artist

Title

Place

Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

Medium

Inscriptions

Dimensions

Credit Line

Reference Number

IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.

Explore Further

Suggested Terms

Currently Off View

Date:

Artist:

About this artwork

Status

Department

Artist

Title

Place

Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

Medium

Inscriptions

Dimensions

Credit Line

Reference Number

IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.

Extended information about this artwork

Publication History

Exhibition History

Provenance

Share

Explore Further

Sign up for our enewsletter to receive updates.

Gallery actions

Image actions

Share

IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.