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The Flight into Egypt

Vittore Carpaccioc. 1515

National Gallery of Art, Washington DC

National Gallery of Art, Washington DC
Washington, DC, United States

Joseph, Mary, and her newborn son, Jesus, have fled Bethlehem and are on the road to Egypt. They are escaping from King Herod, who wanted the child killed. Rather than focus on their urgent flight, Carpaccio shows the Holy Family mid-journey, their pace unhurried. Joseph urges the plodding donkey onward and looks back caringly at Mary and the child. The setting is tranquil, with dawn breaking over a lush landscape and a meandering river.


This story tapped into the growing popularity in sixteenth-century Venice of Saint Joseph as an ideal father. It also enabled Carpaccio to showcase his talent for depicting textures, from the donkey’s fuzzy fur to Mary’s almost metallic cloak. Such a family subject would have been appropriate for display in the home.

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  • Title: The Flight into Egypt
  • Creator: Vittore Carpaccio
  • Date Created: c. 1515
  • Physical Dimensions: painted surface: 72 x 111 cm (28 3/8 x 43 11/16 in.) overall (including attached pieces): 74 x 113 cm (29 1/8 x 44 1/2 in.) framed: 122.9 x 160 cm (48 3/8 x 63 in.)
  • Provenance: Edward Solly [1776-1844], Berlin; purchased 1821 for the Königliche Museen (painting collection installed 1904 in the Kaiser-Friedrich-Museum), Berlin; sold 1924 to (Charles Albert de Burlet, Berlin). (Professor Luigi Grassi [1858-1937], Florence and Rome).[1] (Arthur J. Sulley & Co., London). acquired 1927 by Otto H. Kahn [1867-1934], New York. (Duveen Brothers, Inc., London and New York); purchased 26 April 1937 by The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[2] gift 1937 to NGA. [1] Ellis K. Waterhouse, "Review of Fern Rusk Shapley, _Catalogue of the Italian Paintings_, 2 vols., Washington, D.C., 1979," _The Burlington Magazine_ 122 (September 1980): 637, states that the painting is "widely believed to have been painted almost entirely by Luigi Grassi." However, conservation examination and treatment by the NGA that was concluded in 1995 indicates that the original paint layer is well preserved. [2] Mellon Trust purchase date is according to Mellon collection files in NGA curatorial records and David Finley's notebook (donated to the National Gallery of Art in 1977, now in the Gallery Archives).
  • Rights: CC0
  • Medium: oil on panel
National Gallery of Art, Washington DC

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