Artist: Jacob Cornelisz Van Oostsanen
Date: 1515
Size: 65 x 45 cm
Technique: Oil On Panel
Here, the adoration of the Magi is not taking place in the customary dilapidated stable but in a more architectural setting. The building bears no resemblance to the ruins of King David’s palace, where artists often situated the event, but appears to be a composite of contemporary buildings. In addition to the usual figures of the Christ Child, the Virgin and the three kings there is Joseph in the right middleground, who is being told that there is no room in the inn. To the left of him is a group of soldiers, one of whom appears to be based on a portrait of Julius Caesar engraved by Daniel Hopfer (c. 1470-1536), possibly in order to give the scene a more historical look (fig. a).5 The panel was thought to be a work by the Master of Alkmaar when it was acquired in 1940 on the evidence of perceived similarities to the Adoration of the Magi triptych that is attributed to him (SK-C-1364), but it is more likely to have been made by an assistant in the workshop of Jacob Cornelisz van Oostsanen. The figures are not the Master of Alkmaar’s short, stocky types, but are taller and adopt more elegant poses. In contrast to the master’s distinctively angular heads with long noses and pronounced almond-shaped eyes, the ones in this painting have rounder faces and look a little doll-like. There are also similarities to the work of Jacob Cornelisz from a technical point of view, particularly in the distinctive brushwork, which consists mainly of short parallel brushstrokes and dark contour lines, which are especially apparent in the face of the young soldier wearing armour on the left. Although it was difficult to make out the underdrawing with infrared reflectography, where it is visible it consists of contour lines, with short hatchings in the shaded areas in the direction of the folds (fig. b). This drawing manner is consistent with the studio practice of Jacob Cornelisz, although his own lively, almost chaotic hand is not immediately recognisable here. Although the panel does not measure up to Jacob Cornelisz’s Nativity Altarpiece of 1512 in Naples,6 the painting technique is very similar and the Amsterdam panel can be dated c. 1510-15 for that reason. At that time there were several assistants active in his workshop, among them his sons Cornelis Jacobsz and Dirck Jacobsz, as well as Jan van Scorel. It is unclear, as yet, to what extent one of them was responsible for this Adoration of the Magi. (Daantje Meuwissen)
Artist |
|
|---|---|
Download |
|
Permissions |
Free for non commercial use. See below. |
 |
This image (or other media file) is in the public domain because its copyright has expired. However - you may not use this image for commercial purposes and you may not alter the image or remove the watermark. This applies to the United States, Canada, the European Union and those countries with a copyright term of life of the author plus 70 years.
|
Note that a few countries have copyright terms longer than 70 years: Mexico has 100 years, Colombia has 80 years, and Guatemala and Samoa have 75 years. This image may
not be in the public domain in these countries, which moreover do not implement the
