Research and Describe an Object from NY Collection

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The Rest on the Flight into Egypt
The Rest on the Flight into Egypt can be compared to other paintings by David in Antwerp, Washington, Madrid and Virgin and Child in Rotterdam. Although its composition is almost identical to the Washington and Madrid paintings, the New York’s one has an apple branch in the place of the basket shown in the other works. Significantly, The Flight into Egypt, a favorite theme with the painters in various periods, is derived from the Gospel according to Mathew (2:13-18), as illustrated by the medieval theologians and Early Christians. Most importantly, it is one of the most peaceful and loveliest creations of Gerard David.
It is believed that David painted it in different compositions on several occasions for the open markets and not as a result of commissions. The works are almost alike but have subtle altered details. However, the similarity in all the paintings is how David focuses his attention on the breastfed Christ Child by Virgin Mary seated at the front of a forest backdrop. Moreover, the scene in the far background is interpreted to relate to either the journey to Egypt or rest. Interestingly, the apocryphal legends say the tired family was resting after three days of traveling. It explains, the Virgin Mary wanted food, but the high branches of date-palm deterred Joseph from picking any fruit. Consequently, Christ Child then commanded the date-palm to lower its branches.
In the works, David has deemphasized the miracle by placing the Flemish chestnut tree instead of date-palm and putting a sturdy stick in Joseph’s hand. The story of apocryphal was familiar to the sixteenth-century audience. Furthermore, there are specific and unique indications of the family. For instance, the Madonna holding a bunch of grapes, the symbol of Eucharist, wears red and blue colored robes that transmit light rays of golden light which comes from the Virgin Mary’s head to the Christ Child. Subsequently, the mood of calm equilibrium is created by David’s placing of the Child and Madonna centrally. The alternating bands of light and dark and the declining diagonals are skillfully pushed back into the backdrop thus pleasantly connect to the figures of their backgrounds. The blue color unifies the composition of work and gives it the restful theme.
Gerard David (1460-ca 1523)
Life
He was born approximately in c.1460 in Oudewater, currently located in Utrecht. From the available records, the self-portrait dated 1509 shows he was around 50 years old at the time. It is believed he spent a significant part of his adult life in Bruges. Significantly, the death of Hans Memling in 1494 helped David become the leading painter in Bruges. David joined the Guild at Bruges in 1484 before becoming its dean in 1501. Likewise, he married Cornelia Cnoop, a dean of the goldsmiths’ guild daughter in 1496.
Ambrosius Benson was an apprentice of David until around 1519 when there was a dispute between them on some drawings and paintings collected from various artists by Benson. The disagreement resulted in David refusing to return the materials to Benson due to the massive debt owed. However, Benson used legal means to recover the documents and landed David i...