The Rest on the Flight into Egypt (recto); The Arch of Titus, Camp Vaccino (verso)

The detailed drawing The Rest on the Flight into Egypt (recto); The Arch of Titus, Camp Vaccino (verso) by Claude Lorrain (Claude Gellée) showcases the artist’s mastery of line and his dual focus on biblical narrative and classical Roman views. The recto is executed in pen and brown ink over traces of black chalk, depicting the iconic scene of the Holy Family. The composition centers on the Virgin Mary, Saint Joseph, and the infant Jesus taking respite on their arduous journey, accompanied by their necessary transport, the donkeys. This intimate rendering of the figures and their momentary repose contrasts with the grand, expansive landscapes often found in Lorrain's finished paintings.

The verso presents a dramatically different subject, The Arch of Titus, Camp Vaccino, rendered succinctly in pen and brown ink. This architectural study highlights Lorrain’s consistent practice of sketching Roman ruins and classical monuments in preparation for his ideal landscape compositions. This vital aspect of his working method solidified his reputation as a leading Baroque master of pastoral scenery, despite his focus here on pure architectural form.

Created during the 17th century, when Lorrain was active primarily in Rome, this double-sided Drawing encapsulates the period’s reverence for both Christian themes and classical antiquity. Drawings such as this served as crucial studies for the highly sought-after prints and finished commissions that cemented Lorrain’s legacy. This pivotal piece provides invaluable insight into the artist’s methodology and is now held in the permanent collection of the Metropolitan Museum of Art. The careful preservation of these subtle preparatory studies ensures their continued study, often through public domain reproductions.