His Return from Italy
This covers a relatively short period: the years 1640-1642. Jacques Thuillier assigns a series of works to this time; their particularity is that they are painted on small wooden panels mostly produced by master paneller Melchior de Bout, as testified by the "MB" stamp on the back. Thereafter, from 1643, it seems as if Baugin abandoned this medium in favour of copper and canvas.
Baugin surely intended to profit from his time in Italy, once he returned to Paris. But in contrast to Sébastien Bourdon who brought "bambocciate" back from there, Baugin did not take to this genre, which was fashionable in Italy but little known in the French capital. Although he used the title "Painter to the King" from 1641 onwards, he never received a royal commission to confirm that he was really entitled to it. On the other hand, he continued to employ his skill at Saint-Germain-des-Près and was also able to continue selling his work in the abbey precinct.
Abandoning still lifes - highly sought after but not very lucrative - he turned to producing pictures of the Vierge à l'Enfant (Virgin and Child) and Sainte Famille (Holy Family) for his clientele, painted on small wooden panels (between 26 and 36 cm), and all based on the art of Raphael. In fact several of his contemporaries also used the same themes inspired by the Renaissance masters, as witnessed by two small pictures by Jacques Stella exhibited in the Musée des Augustins, La Sainte Famille and Le Repos de la Sainte Famille.
Steeped in the art of Urbino, Baugin evoked it in his clear, peaceful scenery, beautiful cuddly but heavenly children, figures of Joseph and Elisabeth, groups within a solid, supple framework or yet again landscapes with a slender tree standing out against faraway blues. Amongst the small wooden panels which have come down to us, we also find figures of apostles (saint Jacques le Mineur and saint Philippe Church Fathers such as Saint Jérôme and Pères du désert.
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