Christ in the parental home is John Everett Millet. 1850
This painting, first exhibited in London, gave rise to general rejection. As a leading member of the Brotherhood of the Pre-Raphaelites, the artist served as an example of the Pre-Raphaelite principles of strict realism and immediate emotional attractiveness, when he portrayed the Holy Family as a family of poor English workers at work in the workshop of the carpenter Joseph. But the emaciated Virgin Mary caused particular indignation: usually her image was interpreted as an attractive young blonde. The boy Christ hurt his hand on a nail, and his cousin (hereinafter John the Baptist) carries water to wash the wound. The blood dripping from the wound on Christ's foot, as well as the staircase in the background, foreshadows the Crucifixion.
HOLY FAMILY. In the Renaissance, the image of the Holy Virgin with the Baby was transformed into the images of Mary, Joseph and the Baby Christ. In the plot of the big tondo, the Holy Family (Madonna Doni) by Michelangelo emphasizes the human aspect of the Divine Incarnation, since the Holy Family is engaged in everyday activities. In the painting by Correggio Madonna with a basket (c. 1524) next to the Holy Virgin lies her needlework, and Joseph is busy with his work.