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A woman and two small children, all with pale skin, sit on a rocky ledge in front of a hilly landscape in this vertical painting. The woman, to our right, holds one child on her lap and that child reaches to embrace the second child kneeling next to the woman, to our left. The woman, Mary, sits with her knees angled slightly to our right. She turns her face toward the child in her lap, to our left, but looks with shadowed eyes down in front of her. She has a long, delicate nose, rose-blushed cheeks, and her pale lips curl gently in a smile. Golden brown hair is parted down the middle over a high forehead, which is covered with a transparent veil that comes nearly to her faint eyebrows. A maroon-red hood covers her head and drapes across her shoulders under a slate-blue robe. Near one arm, the hem of the robe is turned back to reveal scarlet-red lining. She holds her left hand, to our right, slightly up with her palm facing us. Her other arm wraps around the nude child in her lap and rests against his hip. This child, Jesus, has a snub nose, rounded cheeks, and a pudgy body. He reaches to our left so his body is angled in that direction, but he turns his head back to look into the distance with pale brown eyes. To our left, the second child, Saint John, kneels and touches Jesus’s chest with one hand as he looks up and smiles at Mary. Saint John wears a ruby-red tunic tied at his right shoulder and a striped, wine-red sash around his waist is tied at his back. Both boys have reddish-blond curly hair, rosy cheeks, and are barefoot. Plants and flowers grow on the rocky ledge where they sit. To our left, beyond the trio, golden hills lead up to a ghostly gray castle on the highest peak. Closer to us but tiny in scale in the background, a person runs toward a man sitting on a rock and drinking out of a jug. A shallow waterfall emerges from the rocky base of the hill closest to us, just over John’s shoulder. The hills descend sharply to a river winding into the distance to our right, over Mary’s shoulder. Two white birds swim in the river near an arched bridge spanning the waterway. The river winds back to pale blue mountains along the horizon, which comes about two-thirds of the way up this painting. A few more people walk along paths and cross the bridge in the background. A few thin, white clouds float across the pale blue sky above.

Attributed to Fernando Yáñez de la Almedina

Madonna and Child with the Infant Saint John, c. 1505

West Building, Main Floor — Gallery 19

Medium

oil and tempera on panel

Dimensions

overall: 78.4 x 64.1 cm (30 7/8 x 25 1/4 in.)

framed: 103.5 x 89.5 x 9.8 cm (40 3/4 x 35 1/4 x 3 7/8 in.)

Credit Line

Samuel H. Kress Collection

Accession Number

1939.1.305

Artists / Makers

Fernando Yáñez de la Almedina (painter) Spanish, active 1505/1531

Image Use

This image is in the public domain.
Read our full Open Access policy for images .

Provenance

Sir Giles Sebright, Beechwood, Boxmoor and London; (sale, Christie, Manson & Woods, London, 2 July 1937, no. 110, as by Leonardo da Vinci); sold to (Giuseppe Bellesi, London) for (Count Alessandro Contini Bonacossi, Florence); purchased 1938 by the Samuel H. Kress Foundation, New York;[1] gift 1939 to NGA.

[1] See also The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/1378.

Associated Names

Bellesi, Guiseppe
Christie, Manson & Woods, Ltd.
Contini Bonacossi, Alessandro, Count
Kress Foundation, Samuel H.
Sebright, 13th Bt., Giles Edward, Sir

Technical Summary

Reported as having been cradled, cleaned, and restored by Stephen Pichetto in 1938/1939, the picture is in very good condition, with losses confined mainly to the top and bottom edges of the original panel. A small triangular inset fills the lower right corner. Some unevenness in the paint along the left edge is due to wood knots. The red underpaint of the Madonna's blue robe was evidently meant to show through, as the surface is scored. The artist appears to have used a mixed medium, perhaps alternating tempera and oil layers.

Bibliography

1941: Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 186, no. 416, as by Sodoma.

1942: Book of Illustrations. National Gallery of Art, Washington, 1942: 248, repro. 190, as by Sodoma.

1945: Paintings and Sculpture from the Kress Collection. National Gallery of Art, Washington, 1945 (reprinted 1947, 1949): 115, repro., as by Sodoma.

1959: Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 86, repro., as by Sodoma.

1965: Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 124, as by Sodoma.

1968: Berenson, Bernard. Italian Pictures of the Renaissance: Central Italian and North Italian Schools. 3 vols. London, 1968: 1:409, as by Sodoma.

1968: National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 110, repro., as by Sodoma.

1968: Shapley, Fern Rusk. Paintings from the Samuel H. Kress Collection: Italian Schools, XV-XVI Century. London, 1968: 144, fig. 354.

1972: Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, MA, 1972: 189, 337, 646, as Attributed to Sodoma.

1975: European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 330, repro., as by Sodoma.

1976: Hayum, Andrée. Giovanni Antonio Bazzi - "Il Sodoma". New York and London, 1976: 276.

1979: Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. National Gallery of Art, Washington, 1979: 1:184-185; 2:pl. 128, 128A, as Florentine School, Early XVI Century.

1982: Trutty-Coohill, P. "Studies in the School of Leonardo da Vinci: Paintings in Public Collections in the U.S. with a Chronology of the Activity of Leonardo ... and a Catalogue ...." Ph.D. dissertation, Pennsylvania State University, University Park, 1982: 279-285.

1983: Leonardo e il Leonardismo a Napoli e a Roma. Exh. cat. Palazzo Barberini, Rome. Florence, 1983: 65, fig. 60.

1984: Dalli Regoli, Gigetta. La preveggenza della vergine. Struttura, stile, iconografia nelle Madonna del Cinquecento. Pisa, 1984: 12, 39, fig. 28.

1984: Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 219, no. 272, color repro., as by Sodoma.

1985: European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 377, repro., as by Sodoma.

1987: Marani, Pietro C. Leonardo e i Leonardeschi a Brera. Florence, 1987: 120, 123.

1990: Brown, Jonathan, and Richard G. Mann. Spanish Paintings of the Fifteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1990: 129-133, color repro. 131.

2003: Gregori, Mina, ed. In the Light of Apollo: Italian Renaissance and Greece. 2 vols. Exh. cat. National Gallery and Alexandros Souzos Museum, Athens, 2003-2004: 1:332, as ascribed to Sodoma.

2023: Kondziella, Martha. Sodoma: Die Tafel- und Leinwanbilder. Merzhausen, 2023: 492, cat. X5.