| (눅 2:16) | 빨리 가서 마리아와 요셉과 구유에 누인 아기를 찾아서 |
Caravaggio 1573 – 1610
The Adoration of the Shepherds
oil on canvas (314 × 211 cm) — c. 1609
This work is linked to Luke 2:16
Mary and her child rest on the floor of a simple barn. In the back are the ox and the ass; on the foreground Joseph's tools. Joseph is the man in brown, to be identified by the halo over his head.
It is a very peaceful tableau. Apart from the two halos, only the clasped hands of one of the shepherds hint at the religious importance.
Giorgione 1477 – 1510
The Adoration of the Shepherds
oil on panel (91 × 110 cm) — c. 1500
National Gallery of Art, Washington DC
This work is linked to Luke 2:16
An angel had told the shepherds that their Salvator had been born nearby. Here they are the first to pay a visit to the newborn child and his earthly parents.
In paintings on this subject, the child is usually put in the center. But here the shepherds are at the center. The circle of the four figures draws attention to the child. To the left, there is much space for a glance at the landscape and the Jerusalem city walls.
Some claim that Titian is the creator of this work. He and Giorgione were contemporaries and they both worked in Venice.
It is also known as the Allendale Nativity, after a former owner.
Andrea Mantegna 1431 – 1506
Adoration of the Shepherds
tempera on canvas (40 × 56 cm) — c. 1451-53
Metropolitan Museum of Art, New York
This work is linked to Luke 2:16
In this early work by Mantegna his style is already clearly developed. Bright colors, precise drawing and much attention to detail.
The shepherds with their worn clothes and rustic faces seem inspired by Flemish art.
Rembrandt Harmensz. van Rijn 1606 – 1669
The Adoration of the Shepherds (1646 [1])
oil on canvas (97 × 71 cm) — 1646 Alte Pinakothek, Munich
Rembrandt Harmensz. van Rijn biography
This work is linked to Luke 2:16
The shepherds have just been told the good news. Here they admire the child.
Rembrandt and his workshop made two paintings on this subject in 1646. Both have a sacral atmosphere, but without angels and heavenly music. The other painting is in London.
Rembrandt Harmensz. van Rijn 1606 – 1669
The Adoration of the Shepherds (1646 [2])
oil on canvas (65 × 55 cm) — 1646
Rembrandt Harmensz. van Rijn biography
This work is linked to Luke 2:16
This work is based on the version Rembrandt painted earlier in 1646 for stadtholder Frederik Hendrik of the Dutch Republic.
Two shepherds kneel in front of the newborn child. Note that the light coming from the child is much stronger than the light from the lamp.
The use of the light gives the scene a great sense of intimacy. The quick, rough brushstrokes, the chatting bystanders and the kid playing with the dog make the atmosphere domestic and informal.
Martin Schongauer ca. 1447 – 1491
The Nativity
oil on panel (37 × 28 cm) — c. 1480
Gemäldegalerie der Staatlichen Museen, Berlin
This work is linked to Luke 2:16
Joseph, Mary, the ass, the ox and the shepherds all admire the new-born child lying on a bundle of straw covered by a blanket.
The style of this work shows resemblance to that of the Southern Netherlandish master Rogier van der Weyden, whose work Schongauer is believed to have closely studied.
Jan Havicksz. Steen ca. 1626 – 1679
Adoration of the shepherds
oil on canvas (53 × 64 cm) — between 1660 and 1679
This work is linked to Luke 2:16
Jan Steen made a pretty Adoration with a very cosy, domestic atmosphere.
To the left a boy lights a fire, to warm a can. Perhaps there is soup in it? Joseph is given a dish with eggs - a far more useful gift than gold, frankincense and myrrh. In the background more shepherds approach, with their wifes and children.
To the right someone plays the pipes. It must have been quite a party!
The most quiet place in the composition is the manger, placed between Mary and the kneeling shepherd.
Hugo van der Goes ca. 1440 – 1482
The Adoration of the Shepherds
oil on panel (253 × 304 cm) — 1476-1478
Galleria degli Uffizi, Florence
This work is linked to Luke 2:16
Central part of the Portinari altarpiece.
Gerard (Gerrit) van Honthorst 1590 – 1656
Adoration of the Shepherds (1622)
oil on canvas (164 × 190 cm) — 1622
Wallraf-Richartz Museum, Cologne
Gerard (Gerrit) van Honthorst biography
This work is linked to Luke 2:16
Anyone familiar with the work of Caravaggio immediately recognizes his influence on the work of Van Honthorst. The artist plays with light. Irrelevant parts of the canvas are left in the dark.
Van Honthorst made this canvas in 1622, two years after his return from Italy.
The source of the light on the child is not shown, which suggests some mystic origin. The light is reflected on the faces of the other figures.
The three shepherds to the left are grouped in a nice triangle. Triangles are a well-known way to achieve coherence in a composition. The heads of Mary, Joseph and the ox form another triangle.
| (눅 2:21) |
○할례할 팔 일이 되매 그 이름을 예수라 하니 곧 잉태하기 전에 천사가 일컬은 바러라
|
Albrecht Dürer 1471 – 1528
Seven Sorrows: The Circumcision
oil on panel (63 × 45 cm) — 1495-1496
Gemäldegalerie Alte Meister, Dresden
This work is linked to Luke 2:21
The first panel from Dürer's series on The Seven Sorrows of Mary. It might also be the second sorrow, as the exact order of circumcision and flight into Egypt can't be deduced from the gospels.
The seven sorrows are moments where either Mary witnessed Jesus suffering, or Jesus made her suffer.
Rembrandt Harmensz. van Rijn 1606 – 1669
The Circumcision
oil on canvas (56 × 75 cm) — 1661
National Gallery of Art, Washington DC
Rembrandt Harmensz. van Rijn biography
This work is linked to Luke 2:21
Eight days have passed since the birth when a priest circumcises the baby Jesus, who is held by Mary. Another priest reads a text; next to him Joseph watches on. The scene takes place in a stable - probably the nativity stable in Bethlehem.
Luke's gospel doesn't specify the location of the circumcision. In a 1654 etching Rembrandt had also situated it in a stable, but in previous works he displayed it in the temple. That would however have been against Jewish law, which forbids the mother to even come close to the temple within 40 days after giving birth.
The painting is typical for Rembrandt's late period: the figures are not clearly outlined but seem to appear out of broad strokes with the brush.
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