The Adoration of the Shepherds

Spadaro treated the Adoration of the Shepherds on a number of occasions each time using different figure groups and altering the architectural setting. The present work reflects the influence of Bernardo Cavallino (1622-1654), as does another Adoration of the Shepherds by Spadaro in La Salle University Art Museum, Philadelphia (see G. Sestieri and B. Dapr, Domenico Gargiulio detto Micco Spadaro, 1994, pp. 71-2, no. 8). By the 1660s his naturally free style of painting becomes even looser and he bathes the picture in light emanating from various sources, achieving striking chromatic effects. In their recent monograph, Giancarlo Sestieri and Brigitte Dapr note that the Philadelphia 'Adoration' dates before three other 'Adorations' - in the Museo Nazionale di San Martino, Naples (Inv. no. D.R. 399), the Molinari Pradelli collection, Marano di Castenaso, Bologna, and an 'Adoration' known only through an archival photograph, Naples - all of which date from the 1660s (G. Sestieri and B. Dapr, op. cit., 1994, pp. 75-5, 235-6, 322-3, nos. 11, 102, and 169). In the painting in Bologna, he reintroduces the two shepherds descending the steps, replacing the dog with an exclaiming child.