We traditionally close the Christmas celebrations on this site with an arty note dedicated to the feast of the Epiphany (6th January). The manifestation of Jesus to the Gentiles and the visit of the Magi to the Baby Jesus has been represented by numerous painters throughout the centuries.
In previous posts we looked at works by a variety of artists portraying the Adoration of the Magi, three wise men who followed the eastern star - maybe a comet or a bright planet - that they thought would lead them to the birth of a great prophet and arrived in Bethlehem, carrying their gifts of gold, frankincense and myrrh to the Baby Jesus. Last year we looked at an Adoration scene from the point of view of textiles. So, inspired by that comparison, let's look at a painting considering the fashionable details featured in it.
The Adoration of the Magi in this post is part of a triptych, completed between 1520-25, that was attributed to Pieter Coecke van Aelst in 2014, when New York's Metropolitan Museum of Art organized an exhibition about the painter.
One of the most important artists of the Northern Renaissance, Coecke was a painter, but also designed tapestries (he travelled to Constantinople in 1533-34 seeking tapestry commissions from Sultan Suleyman I), prints, stained glass, and goldsmith's works, writing (and translating) architectural treatises as well.
The theme of the Adoration of the Magi was popular in the 16th century among the Antwerp Mannerists: the scene gave them the opportunity to paint exotic textiles and objects, luxurious garments and accessories with exquisite details and figures associated with international trade, elements the city's merchant class would have liked. Coecke's triptych is a great example of an Adoration scene that may have been appreciated by the merchant class for its very fashionable details.
The scene starts in the left panel with the Nativity of Christ, with the Virgin, a shepherd and two angels kneeling in prayer before the newborn Jesus. Joseph sits behind them and the scene, bathed in golden tones, extends in the background as well, with angels announcing the birth to shepherds who start moving to the foreground to pay their respects to Christ.
The architectures in this section of the triptych continue in the central panel, and the fact that some of the arches are in ruin could be a hint at old traditions being replaced by the birth of the Savior.
In this central panel with the Adoration, the Magi present their gifts to the Baby Jesus who is sitting on Mary's lap. The representation of the Magi follows the tradition: they are of different ages and races, and they wear rich gowns and capes.
In this case, the richness increases from the left to the right with Balthasar, the Black magus, in silk brocade, puffed and slashed sleeves, gold jewelry and delicate shoes that create a sort of scalloped motif around the toes.
The fine details of Balthasar's attire would have appealed to the merchant class: the story of the Magi visiting from around the world and bringing exotic gifts was a favourite in cities made rich by the trade routes and in this case Balthasar's brocaded attire accessorised with a sword, would have been a favourite among merchants.
While the Magi's elaborate garments are in contrast with the humble birth of Jesus, they find a correspondence in the right panel: this scene shows Jesus' Presentation in the Temple with Simeon, the priest conducting the ceremony, and a richly dressed lady in the background - Anna, a priestess.
In depicting this figure, Coecke showed all his originality in design and passion for details: Anna wears a long white tunic, a damasked overdress and elaborate headpiece, and her attire is accessorised with jewels. In a way Anna is the female counterpart of Balthasar in the previous scene.
As a whole the triptych bursts with colours: golden and yellow tones prevail creating a shimmering effect, especially on the brocaded garments donned by the figures portrayed, all of them animated and engaged with one another in all the three panels.
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