Lubin Baugin

Copper plate is flat and stable. the paint surface has been well retained with nice impasto and preservation of detail. examination under UV light reveals small scattered retouches here and there: a few on Madonna's face, including one on her mouth; a few on Christ's body, some on draperies and in background. these are all quite small and have been skillfully applied. there is no need for further work and painting can be hung as is. In a gilt wood frame.
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Lubin Baugin was appointed Maître Peintre in the Guild of Saint-Germain-des-Près in 1629, but from 1636 onward he spent many years in Italy. In turn, Baugin's style shows the direct influence of both the Fontainbleau School, as well as Parmigianino, Raphael, and Coreggio. Though he executed works of varied subject matter, it is his tender depictions of the Madonna and Child for which he is perhaps best known. The present work is a typical and particularly touching example, which contains the sweetness and softness of touch which are the hallmarks of his best works. The stylistic device of the Madonna's wind swept veil is found in another work by Baugin in a private collection (see J. Thuillier (ed.), Lubin Baugin, exhibition catalogue, Paris 2002, no. 49).