| (마 2:11) | 집에 들어가 아기와 그의 어머니 마리아가 함께 있는 것을 보고 엎드려 아기께 경배하고 보배합을 열어 황금과 유향과 몰약을 예물로 드리니라 |
Pieter Aertsen 1507/08 – 1575
Adoration of the Magi
oil on panel (168 × 179 cm) — c. 1560
This work is linked to Matthew 2:11
Central panel of a triptych. The figures are arranged in a triangular manner. All of them look at the child, which helps the spectator to find the main subject.
Research has shown that parts were sawn off at the top, right and bottom. Obviously the panel used to be larger, probably as high as the lefthand panel.
The righthand panel is lost. It probably showed the third of the three magi.
Anonymous
Adoration of the Magi
mixed techniques on panel (44 × 63 cm) — c. 1430
This work is linked to Matthew 2:11
Dressed in magnificent gowns the three kings present their gifts to the newborn child. Mary has the child on her lap. She is sitting on a large, red bed - a contrast with the rather humble stable. From the background two shepherds look on, as does Joseph in the foreground.
The panel has a background with leaf gold, stamped in a leaf pattern. It is thought to be made in the northern Netherlands.
Abraham Bloemaert 1566 – 1651
Adoration of the Magi
oil on canvas (424 × 290 cm) — c. 1622-1624
This work is linked to Matthew 2:11
Large, baroque altarpiece by Bloemaert, made for the Jesuit church of Brussels. In those days the Jesuits were among the foremost commissioners of art. Peter Paul Rubens made many works for the Jesuits of Antwerp, but the Jesuits of Brussels choose Bloemaert, a painter from the northern part of the Netherlands.
The painting remained in the church for 150 years. Via Vienna it came in the collection of Napoleon. He founded an art collection in every departement of his empire, and thus this work ended up in Grenoble.
Jheronimus Bosch ca. 1450 – 1516
The Adoration of the Magi
oil on panel (138 × 144 cm) — 1485-1500
This work is linked to Matthew 2:11
The three Kings in the foreground all have their traditional characteristics: the black Caspar is depicted with incense, the middle-aged Melchior with gold, and old Balthazar with myrrh.
Remarkable about this depiction of the story of the three wise men is the added figure of a man who, with his company, seems to be hiding in the barn. He is half-naked, has a wounded leg and wears a strange hat made of twigs. He probably personifies evil; waiting to strike now the Savior has been born.
The city in the background is Bethlehem.
The kneeling figures on the outer panels are most likely the pair who commissioned the triptych. St Peter and St Agnes (Inez) accompany them. In the left panel Joseph can be seen heating diapers by a fire.
On the reverse sides of the outer panels St Gregory's Mass is depicted. It is a medieval subject: Christ appears to the praying pope Gregory I (c. 540-604) to take away his doubt.
Botticelli (Sandro Filipepi) ca. 1445 – 1510
The Adoration of the Magi
tempera on panel (111 × 134 cm) — 1475
Galleria degli Uffizi, Florence
Botticelli (Sandro Filipepi) biography
This work is linked to Matthew 2:11
Pieter Bruegel the Elder ca. 1520 – 1569
The Adoration of the Magi (Brussels)
tempera on canvas (124 × 169 cm) — 1556-62
Royal Museums of Fine Arts of Belgium, Brussels
Pieter Bruegel the Elder biography
This work is linked to Matthew 2:11
Pieter Bruegel the Elder ca. 1520 – 1569
The Adoration of the Magi (London)
oil on canvas (112 × 84 cm) — 1564
Pieter Bruegel the Elder biography
This work is linked to Matthew 2:11
The influence of Bosch is clearly seen in this work by Bruegel, in particular in the faces of the almost cartoonesk figures.
Pieter Bruegel the Elder ca. 1520 – 1569
The Adoration of the Magi in the snow
tempera on panel (35 × 55 cm) — 1567
Oskar Reinhart Collection, Winterthur
Pieter Bruegel the Elder biography
This work is linked to Matthew 2:11
The true topic of this remarkable work by Bruegel seems to be the Flemish village and the hustle and bustle of daily life, not the three Magi figuring to the left as mere extra's in the scene.
Albrecht Dürer 1471 – 1528
The Adoration of the Magi (oil)
oil on panel (100 × 114 cm) — 1504-05
Galleria degli Uffizi, Florence
This work is linked to Matthew 2:11
Dürer's Adoration of the Magi has an unusual setting – an impromptu stable offering shelter to the ox and ass erected against one of many ruins and arches. The air seems crisp.
The magi are richly clothed and their offerings impressive. The baby boy accepts a chest of gold from the oldest of the three. on the right, a servant appears to be taking more gifts from a bag. Joseph is missing.
Dürer's Adoration was an altar-piece, commissioned by Friedrich III for the Schlosskirche at Wittenberg. This king, who came to be known as Frederick the Wise, later acted as patron to Martin Luther.
El Greco 1541 – 1614
The Adoration of the Magi
oil on panel (43 × 51 cm) — 1568
This work is linked to Matthew 2:11
The king to the right appears to be stumbling. The horses' necks are not very well done.
El Greco made this painting at the beginning of his career, when he stayed in Venice.
Fra Angelico 1387 – 1455
The Adoration of the Magi (1433-35)
tempera on panel (39 × 56 cm) — 1433-35
This work is linked to Matthew 2:11
Fra Angelico 1387 – 1455
The Adoration of the Magi (1445)
tempera on panel (diameter 137 cm) — ca. 1445
National Gallery of Art, Washington DC
This work is linked to Matthew 2:11
Geertgen tot Sint Jans ca. 1460/65 – ca. 1488/93
Adoration of the Magi (Amsterdam)
oil on panel (90 × 70 cm) — c. 1490
Geertgen tot Sint Jans biography
This work is linked to Matthew 2:11
Please scroll down to read more information about this work.
Geertgen tells the story of the three wise men in two steps. In the foreground the three kings present their gifts to the baby Jesus, who is sitting on his mother Mary's lap. Her husband Joseph looks on.
In the background the three men meet. Each travelling with company and representing a continent, Africa comes from the left, Europe in the middle and Asia from the right. Research has shown that the camel one of the Asians is riding, first was a horse. Perhaps Geertgen changed it to emphasize the eastern origin of the Asian king.
Geertgen used a number of painter techniques in this panel to suggest depth and to draw the eye of the spectator to the child. Depth was created by using light, cool colors in the background and by depicting the background figures much smaller. The (adult) figures in the foreground all focus on one point, the same point where a number of diagonal lines (roof, mountains) come together.
Some of the figures in the foreground are -with all respect- badly painted. Jesus looks more like a doll than like a baby, Mary's head is extremely oval, she seems to be almost asleep, and poor Africa was hardly has a face at all. The white men are painted with more attention. Perhaps Geertgen didn't have any other models?
Three Adorations by Geertgen have survived the ages. This panel is the one that shows the most resemblance with the splendid Adoration by Hugo van der Goes. Painters in the southern part of the Netherlands obviously inspired the first masters in the northern part. Geertgen's other Adorations are in Cleveland and Prague.
Geertgen tot Sint Jans ca. 1460/65 – ca. 1488/93
Adoration of the Magi (Cleveland)
oil on panel (29 × 19 cm) — c. 1490
Cleveland Museum of Art, Cleveland
Geertgen tot Sint Jans biography
This work is linked to Matthew 2:11
Please scroll down to read more information about this work.
Two kings bring a tribute to the new-born Jesus. Joseph looks on from the background. The visitors are dressed in precious gowns and bring expensive gifts.
The great mystery of this delicate, intimate panel by Geertgen is of course where the third king has gone. To the right is the king representing Asia, identified by beard and turban. The oldest man is Europe. There actually used to be a figure representing Africa standing between the two other Magi. But technical research showed he was added much later; he was therefore removed during the 2002-03 restoration. Based on saw-marks and on Geertgen's other Adorations, it is now thought that the panel used to be about 28 cm wide, with Africa standing behind Asia.
So Asia does not grasp his head because he realizes they forgot to bring Africa...
Two other Adorations of the Magi by Geertgen are in Amsterdam and in Prague.
Geertgen tot Sint Jans ca. 1460/65 – ca. 1488/93
Adoration of the Magi (Prague)
oil on panel (main panel: 111 × 69 cm; wings: 71 × 39 cm) — c. 1485
Národní galerie, Sternberg Palace, Prague
Geertgen tot Sint Jans biography
This work is linked to Matthew 2:11
The central panel shows the three wise men from the east in adoration before the new-born child. They bring expensive gifts to him and his family.
The kneeling figures on the outer panels are probably the unknown donors. on the left is St. Bavo, identified by his attributes sword and falcon. The triotych is thought to be made for use in the church of St. Bavo in Haarlem. on the right panel is St. Adrian (or Hadrian), with in his left hand the anvil on which he was tortured.
The central panel of this nice triptych by Geertgen is less wide than the two outer wings put together. For unknown reasons a strip at least 8 centimeters wide was sawn off the left side of the panel. The removal shifted the main action, the handkiss, away from the center.
In 2008 a small panel in the collection of the Frankfurt historical museum was identified as originally belonging to this triptych. It shows Joseph, who until then was missing in this Adoration of the Magi.
The wings were also vandalised. That becomes obvious when one views the reverse sides of the wings, that show grisailles with Mary and the archangel Gabriel (both participants in the Annuncation).
Two other Adorations by Geertgen are in Cleveland and in Amsterdam.
Domenico Ghirlandaio 1449 – 1494
The Adoration of the Magi (1488)
tempera on panel (285 × 240 cm) — 1488
Ospedale degli Innocenti, Florence
This work is linked to Matthew 2:11
Please scroll down to read more information about this work.
If we have to believe Ghirlandaio it must have been busy at the holy family's residence the day the three wise men paid them a visit. A large number of people populate this altarpiece.
Kneeling to the left is St John the Baptist, pointing in a manner copied by Leonardo da Vinci in his Baptist. His right arm follows the diagonal that leads to the absolute center of the image, where Mary resides.
The two children in the foreground probably represent the innocent children in the orphanage the painting was made for. They are wounded, so they must be survivors of the Slaughter of the Innocents.
The three Magi are close to Mary. Standing with a goblet in his hand is the youngest of them. The older men are kneeling. The kneeling man to the right must be Joseph, identified by the halo around his head.
On the second row, third from the left, Ghirlandaio himself looks at the spectator.
In the top part angels hold a banner reading "Gloria in excelsis deo", put to music.
Ghirlandaio was a popular and busy artist, who passed a lot of work to members of his workshop. The man who commissioned this painting had a contract drawn in which the master promised he would do all the painting himself. He also reserved the right not to pay the full price should he not be satisfied with the result. We know that Ghirlandaio did receive the full amount of florins, so the commissioner must have been pleased.
Ghirlandaio shows his skill in working with colours. Note the rhytm that is created especially by the usage of blue.
Some experts think that the scene with the Massacre of the Innocents in the background to the left, was painted by one of Ghirlandaio's employees. So perhaps the master did not keep his word after all...
Giotto ca. 1267 – 1337
The Adoration of the Magi (Arena chapel)
fresco (200 × 185 cm) — 1304-1306
Cappella degli Scrovegni (Arena Chapel), Padua
This work is linked to Matthew 2:11
One of Giotto's frescoes from his series on the life and passion of Jesus, in the Arena Chapel in Padua.
Giotto ca. 1267 – 1337
The Adoration of the Magi (Santa Croce)
tempera on panel (45 × 44 cm) — ca. 1320
Metropolitan Museum of Art, New York
This work is linked to Matthew 2:11
Also known as The Epiphany. The work is part of a series, of which six other works are known. It probably was made to serve as an altarpiece in the Santa Croce in Florence.
Leonardo da Vinci 1452 – 1519
The Adoration of the Magi
oil on panel (246 × 243 cm) — 1481-82
Galleria degli Uffizi, Florence
This work is linked to Matthew 2:11
Leonardo seems to have been of the opinion that the birth of the infant created a caesura in history – a new dawn due to the coming of the Messiah.
Central to the symmetrical positioning are the Magi, adoring the Infant. They are surrounded by an unknowing crowd.
By its innovative composition the roles of the Magi are made equal – all of them can show their emotions simultaneously. Before, the Magi were usually portrayed lined up.
Leonardo never completed this painting. He left Florence for Milan in 1482 for unknown reasons.
Filippino Lippi ca. 1457 – 1504
The Adoration of the Magi
oil and tempera on panel (57 × 86 cm) — ca. 1480
This work is linked to Matthew 2:11
An early work by Lippi, strongly influenced by Botticelli. In the background, far away, several saints, to the left, Tobias and the archangel Raphael at the well.
Filippino Lippi ca. 1457 – 1504
The Adoration of the Magi (1496)
oil on panel (258 × 243 cm) — 1496
Galleria degli Uffizi, Florence
This work is linked to Matthew 2:11
Andrea Mantegna 1431 – 1506
The Adoration of the Magi
tempera on panel (76 × 76,5 cm) — c. 1461
Galleria degli Uffizi, Florence
This work is linked to Matthew 2:11
Hans Memling ca. 1433 – 1494
The Adoration of the Magi
oil on panel (46 × 57 cm) — 1479
Memling Museum, St.John's Hospital, Bruges
This work is linked to Matthew 2:11
Peter Paul Rubens 1577 – 1640
The Adoration of the Magi (1617-18)
oil on canvas (245 × 325 cm) — 1617-18
This work is linked to Matthew 2:11
The oldest magus kisses baby Jesus' foot. Jesus has his hand on the king's head, as if he were blessing him. A second wise man, wearing a long red cloak, is eager to also greet the newly born. The third, in yellow and wearing a turban, is more in the background, his hands on his hips.
Rubens made over ten versions of The Adoration of the Magi, for example this one from 1624. In that version the Magi bring gifts.
Peter Paul Rubens 1577 – 1640
The Adoration of the Magi (1624)
oil on panel (447 × 336 cm) — 1624
Royal Museum of Fine Arts, Antwerp
This work is linked to Matthew 2:11
The central figure is one of the Magi, kneeling before Jesus, who is resting on a pillow. The wise man is dressed like a priest and holds a censer, as if he were celebrating mass.
Behind him, looking rather disturbed, is the second wise man. The third, wearing a turban, is on the second row in the center. They can be identified by the gifts they're holding, as opposed to their colorful company.
The panel was made for the church of St. Michael's abbey in Antwerp.
Rubens made several paintings of the Adoration of the Magi, e.g. in 1618.
ugo van der Goes ca. 1440 – 1482
Adoration of the Magi
oil on panel (150 × 247 cm) — c. 1470/75
Gemäldegalerie der Staatlichen Museen, Berlin
This work is linked to Matthew 2:11
This is the central part of an altarpiece. The wings are lost. Two stretches were removed from this panel, showing angels. The panel is known as the Monforte altarpiece, after the city in north-western Spain where it was kept many years.
The altarpiece is considered as an important work of the still young Hugo van der Goes. Most praised are its balanced composition and the high quality of the faces.
In the foreground, from left to right: Joseph, Mary with child, and the three wise men with their servants. The three magi are often linked to a continent. The balding, kneeling man represents Europe. The bearded man with turban is from Asia, and the dark man represents Africa. In those days, America was still unknown in Van der Goes' Flanders.
By putting the main actors in a small space inside the ruins, Van der Goes created an intimate atmosphere. At the same time, bystanders can easily see everything. The open character emphasizes the nature of the event: the presentation of Jesus to the world.
Diego Rodríguez da Silva y Velázquez 1599 – 1660
The Adoration of the Magi
oil on canvas (203 × 125 cm) — 1619
Diego Rodríguez da Silva y Velázquez biography
This work is linked to Matthew 2:11
The three wise men from the east have arrived in Bethlehem and present their gifts to the child and his parents. They are dressed according to Spanish fashion in the days of Velázquez.
Some say that the painter's wife, their youngest daughter and members of their family posed for this painting.
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