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Lot Essay
The Adoration of the Shepherds is based on an account from the Gospel of Luke in which an angel appeared to a group of shepherds, announcing the birth of the savior, Jesus Christ. After hearing the good news, the shepherds then made their way to Bethlehem to pay homage to Jesus. The present Adoration of the Shepherds is a masterfully-executed example of this story. In the upper register, angels hold a banderole, exclaiming “Gloria In Excelsis Deo” (Glory to God in the Highest), while presented below is a tender moment just after Christ’s birth, where Mary appears to un-swaddle the baby for all to admire. A female attendant carries a jug of water while Joseph clasps his hands in prayer and gazes upon Mary. Gathered around are the shepherds, bearing modest gifts—fitting complements to the riches that the Magi in turn presented to Christ. In the upper right register one shepherd brings a lamb, bound at the feet, and in the lower register, a basket of eggs is pictured—perhaps allusions to Christ’s sacrifice and the Virgin Birth, respectively.
In the 16th through 18th centuries, the Adoration of the Shepherds became a popular subject for devotional altarpieces as well as private contemplation in the Viceroyalties of New Spain and Peru. As is the case with other works from this period, the present painting demonstrates a persistence of Spanish and Italian baroque styles—a trend that continued well into the 18th century, when this work was likely painted. Here, the influence of late mannerism is evident in the elongated and sometimes unnatural treatment of form, as well as the compression of space in favor of providing a more robust narrative. The tenebrism of Zurbarán is also noted, in the contrast of dark and light, creating a scene that appears to be illuminated from within. The result is a truly remarkable picture, impressive both in size and compositional complexity, that would have inspired awe and admiration in the faithful viewer.
In the 16th through 18th centuries, the Adoration of the Shepherds became a popular subject for devotional altarpieces as well as private contemplation in the Viceroyalties of New Spain and Peru. As is the case with other works from this period, the present painting demonstrates a persistence of Spanish and Italian baroque styles—a trend that continued well into the 18th century, when this work was likely painted. Here, the influence of late mannerism is evident in the elongated and sometimes unnatural treatment of form, as well as the compression of space in favor of providing a more robust narrative. The tenebrism of Zurbarán is also noted, in the contrast of dark and light, creating a scene that appears to be illuminated from within. The result is a truly remarkable picture, impressive both in size and compositional complexity, that would have inspired awe and admiration in the faithful viewer.