Adoration of the Magi
Peter Paul Rubens
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- Art Type: Oil Painting
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Work Overview
- The Adoration of the Magi (Lyon)
Artist Peter Paul Rubens
oil on canvas (245 × 325 cm)
1617-18
Location Museum of Fine Arts, Lyon
The oldest magus kisses baby Jesus' foot. Jesus has his hand on the king's head, as if he were blessing him. A second wise man, wearing a long red cloak, is eager to also greet the newly born. The third, in yellow and wearing a turban, is more in the background, his hands on his hips.
Rubens made over ten versions of The Adoration of the Magi, for example this one from 1624. In that version the Magi bring gifts.
The Adoration of the Magi is a c.1617-18 painting by Peter Paul Rubens. It is now in the Musée des Beaux-Arts de Lyon[1]
Since it is horizontal rather than vertical it was probably commissioned for a private collection rather than as an altarpiece. Peter C. Sutton suggested that, as Rubens' treatments of this subject in vertical formats were for known ecclesiastical commissions as altarpieces, the horizontal format, which is shared with Rubens' Adoration painted for the Statenkamer of Antwerp's town hall, c. 1608-09, might suggest that the Lyon painting was also a secular commission.[2] Rubens made a considerable fortune via the painting's reproduction in engravings and tapestries.
The painting arranges full-length figures across the canvas, backed by a frieze-like crowd showing a variety of mature male types, twelve in all. The oldest magus kneels and kisses the foot of the Christ Child with a tender gesture, as the Child, standing on a straw-strewn table, where he is presented by the Virgin Mary,[3] touches the magus' bald head in a gesture of benediction. The dim stable is lit by shafts of light.
The painting was purchased by Maximilian II Emanuel, Prince-Elector of Bavaria in Antwerp in September 1698, from Gijsbert van Ceulen, part of a spectacular group of paintings that included twelve other paintings by Rubens that are now among the Wittelsbach works of art from Schleissheim[4] now in the Alte Pinakothek, Munich. It languished as a copy until Jacques Fouquart resuscitated its reputation, recognized as a major work of Rubens, in the exhibition Le siècle de Rubens, Paris, 1977-78.
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