The Adoration of the Kings (Gossaert)
| The Adoration of the Kings | |
|---|---|
 |
|
| Artist | Jan Gossaert |
| Year | 1510–1515 |
| Medium | Oil on oak |
| Dimensions | 177.2 cm × 161.8 cm (69.8 in × 63.7 in) |
| Location | National Gallery, London |
The Adoration of the Kings is a large oil-on-oak painting by Jan Gossaert (born Jean Gossart, also known as Jan Mabuse), dated to 1510–15, depicting the Adoration of the Magi. Although Gossaert's name is signed on the border of Balthazar's richly embroidered headdress, and on a collar worn by Balthazar's turbaned attendant, the painting was occasionally attributed to Albrecht Dürer in the 17th and 18th centuries. In 2010, Ainsworth suggested that the work was a collaboration between Gossaert and Gerard David.
In the centre of the painting, the Madonna and child sit in the ruins of a building, receiving a gift from the kneeling Caspar to the right; the Christ-child holds a gold coin in his left hand, almost as if he were offering Caspar a communion wafer. Six shepherds, an ass and a cow watch from behind, with a grey-bearded Joseph – depicted in a bright red robe, contrasting with Mary's traditional garb of deep blue – standing behind a column to the left. More shepherds and their flock are barely visible in the distance.
To the right of Caspar stands Melchior holding aloft his gift, accompanied by four attendants, with more attendants approaching from the distance on horseback. Balthazar stands to the left with his gift and three attendants. Balthazar's richly decorated crown is inscribed with his name at its peak and Gossaert's name towards the bottom; Gossaert's name also appears on a collar worn by Balthazar's turbaned black attendant. Further left, two more attendants in exotic dress watch from a window.
Nine angels (perhaps representing the nine orders of angels) look down through the structure of the ruined building, one holding a scroll bearing the words "Gloria in excelcis deo". A bird – symbolising the Holy Spirit – hovers above, while the Star of Bethlehem shines brightly at the top of the painting. Several babies appear as decorative details, in the architectural frieze and the capitals, and on the golden vessel for Balthazar's gift. A tenth angel – possibly a self-portrait of Gossaert – is barely visible, in a doorway behind the ox.
...
Wikipedia