The subject of the Education of the Virgin originated in medieval accounts of the childhood of the Virgin. It was subsequently developed during the Counter-Reformation period in the late 16th century at a time when the role of women in the indoctrination of their children was emphasised in order to combat Protestantism. During the Counter-Reformation, the Roman Catholic Church increasingly upheld Saint Anne, the Virgin Mary’s mother, as an example of virtuous motherhood, particularly in emphasizing her daughter’s religious education.

The artist depicts a simple scene limited to the two figures, the Virgin and Saint Anne. The figures of the mother and child, depicted with grave, meditative expressions, are located on a featureless background.

The green and yellow tones of Saint Anne’s dress and scarf contrast with those of the Virgin, who is dressed in blue and white, the colors of the Immaculate Conception, even though this concept was not pronounced dogma until 1854. The canvas dates from around 1655, although the delicacy of the brushstrokes and the tonal contrasts recall some association with Velázquez.

The concepts of meditation and prayer are conveyed through the gestures of the hands. Saint Anne merely indicates the pages while the Virgin firmly places her hand on them as if not needing to read the text given that she already knows and accepts it. Her thoughtful, self-aware gaze upon the holy scriptures conveys the idea that she has already accepted her destiny.

The Painting transmits a silent, intimate mood while the young Mary’s resolute expression may indicate that this was a work intended for a community of nuns and was intended to encourage the vocation of the young novices.