In Orazio Gentileschi's painting neither the Virgin nor the baby Jesus look towards the observer: everything remains as if held within the canvas and the essence of the work is played on the mutual exchange of glances and contacts between mother and child. We do not perceive that ritual solemnity that characterizes the depictions of the Virgin with the Child: if it were not for the golden border of the halo it might seem like a profane subject, a moment of family intimacy. This effect is also obtained thanks to the use of color: on a dull background, based on ocher and brown tones, the painting lights up with light in the incarnations of mother and son and in the tripartition of pure colors (red, yellow, blue) chosen for clothes. The naturalness of the scene and the luminous setting, close to the Caravaggesque aesthetic, testify how much Gentileschi understood the innovative scope of the works of his Lombard colleague, with whom he had had direct contact during the years he lived in Rome.