Italian school, Circle of GIOVANNI BELLINI (Venice, 1431/ 1436-1516); circa 1516. "The Holy Family. Gouache on vellum. Dated in the lower central area. Size: 17 x 13,5 cm; 29 x 24 cm (frame). In this canvas we see a devotional work of great beauty and emotion, classical in its conception, although enriched by a warm illumination, which drinks from the aesthetic influence of the artist Giovanni Bellini. The artist presents us with a well-established and balanced composition, clearly classical, based on a pyramidal scheme with Mary s head at the top. The figures stand out against a neutral background that seems to open up to the blue sky at the sides, which to a certain extent emphasises the corporeality of all the figures in the scene. All the figures are also vividly illuminated by a direct, uniform light. Mary is depicted half-length, wearing a pink tunic and a blue cloak, a colour alluding to the concepts of truth and eternity that would be common in Marian representations. With one of her arms, the Virgin is holding her son, who is standing and offering her a small bouquet of flowers, but with her other hand she is holding tightly that of Saint John Child, which shows the Virgin as the protector of children. Next to them in the background are two men, one of whom, holding a staff, seems to represent Saint Joseph, while the other, wearing a turban, is probably Saint Joachim, the Virgin s father. From its aesthetic characteristics the work can be related to the artistic circle of Giovanni Bellini, an Italian Renaissance painter, probably the best known of the Bellini family. He grew up in the house of Jacopo Bellini, who was previously thought to be his father, although this generational family relationship is now questioned. Giovanni Bellini was considered to have revolutionised Venetian painting, moving it towards a more sensual and colourful style. Using light, slow-drying oil paints, Giovanni created rich, deep tints and detailed shadows. His sumptuous colouring and fluid, atmospheric landscapes had a great effect on the Venetian school of painting, especially on his pupils Giorgione and Titian.