Adoration of the Magi (Velázquez)

1619 Baroque painting by Diego Velázquez

The Adoration of the Magi

Artist| Diego Velázquez
Year| 1619
Medium| Oil on canvas
Dimensions| 204 cm × 126.5 cm (80 in × 49.8 in)
Location| Museo del Prado, Madrid

The Adoration of the Magi is a 1619 Baroque painting by the Spanish artist Diego Velázquez now held in the Museo del Prado in Madrid. This work depicts the biblical scene of the three kings presenting gifts to the Christ Child. The painting also features the Virgin Mary and Saint Joseph.

Completed when Velázquez was just twenty years old, the painting reflects his early skill in religious composition and naturalistic portraiture. Scholars believe it was likely commissioned by the Jesuit Novitiate of San Luis in Seville, a connection likely influenced by his mentor and father-in-law, Francisco Pacheco. Some historians, such as Julian Gallego, suggest that Velázquez used family members as models, including his wife for the Virgin Mary and himself for Gaspar. Debate also surrounds the painting's original dimensions. The size and format of the painting indicate that it was made for an altarpiece. However, a 1832 lithograph by Cayetano Palmaroli depicts a wider version of the composition, raising questions about whether the canvas was later trimmed.

## History

[edit]

The Adoration of the Magi passed through various notable collections before being placed in the Museo del Prado. Based on the date on the canvas, scholars believe that Velázquez completed the work in 1619 (one year after he married Juana Pacheco).[1] However, the earliest known record of the painting dates to circa 1764, when it was housed in the Jesuit Novitiate of San Luis, Seville.[2] The painting was likely commissioned by the Jesuits, possibly through the influence of Velázquez's mentor and father-in-law, Francisco Pacheco. When the Jesuits were expelled from Spain by King Charles III, their possessions, including this painting, were dispersed. One account suggests that Francisco de Bruna, a Sevillian collector and a known art patron, acquired the painting around this time. English traveler Richard Twiss reported seeing it in this collection before 1775.[1]

By the late 18th century, The Adoration of the Magi had entered the royal collection of Spain. Following Francisco de Bruna's death in 1804, Luis Meléndez (de Bruna's nephew) gifted the painting to King Ferdinand VII. The work was initially placed in the Monastery of El Escorial and erroneously attributed to Francisco de Zurbarán in Pedro de Madrazo's Prado catalogue. In 1819, it was transferred to the Museo del Prado in Madrid, where it remains today.[1]

## Description

[edit]

A close-up showing the Christ Child and Virgin Mary

At the center of the painting is the Christ Child, wearing a bright expression on his face. His body is wrapped in white fabric, giving him what some critics describe as a mummified appearance. In reality, the infant is simply swaddled, as was common during the time.[1]

The Virgin Mary, wearing a pink dress and a blue mantle, appears behind Christ, steadily holding her child. The spirituality in Mary's appearance is contested among scholars: while Julian Gallego asserts her "devout meditation", Pantorba cannot find in her even "the slightest trace of spirituality", directing attention to her coarse hands. Additionally, some scholars note Mary's reserved facial expression, drawing comparisons between her figure and that of carved statues, such as Martínez Montañés's Inmaculada La Cieguecita.[1]

A close-up of the Magi presenting their gifts to the Christ Child

The painting also features three magi, who stand in close proximity to one another. Closest to the viewer is Melchior, who kneels in the foreground. In the back stands Balthazar, distinguished by his red mantle and lace collar. Finally, between these two is Gaspar, nearly hidden from view by Melchior's body.[2] The three characters are presenting their gifts of gold, frankincense, and myrrh to Christ. Despite these luxurious presents, the characters appear remarkably plain. In Velázquez's depiction of the scene, the magi wear ordinary clothes, contrasting the idealized, extravagant costumes of versions produced by other artists. This striking naturalism highlights Velázquez's attraction to Caravaggism.[1]

Additionally, on the right of the painting, with the majority of his body hidden from view, stands Saint Joseph.[1] And, behind Balthazar, there appears an unidentified young man looking on.[2] Some art historians have identified him as a page of the kings.[1]

Behind these individuals, Velázquez depicts a dark landscape. Rather than setting the scene in a cave (as suggested by Loyola), the artist places his characters in a shadowy natural scene with specks of vegetation in the foreground. On the top left, Velázquez portrays a dimming horizon, thus foreshadowing his future interest in landscapes. Additionally, though it is hard to distinguish, a column appears in the background.[1]

Although the garments of the characters are colorful, scholars describe the painting as monochromatic, "somber and tenebrist". Light emanates from the top left corner of the work, and deep shadows appear in the top right and bottom right.[1] For this reason, Carl Justi praised the Adoration of the Magi as being "distinguished by great power of colouring and chiaroscuro."[3] Its dramatic contrast in dark and light, furthermore, underscores its connection to the Baroque movement.[2]

## Inspiration

[edit]

Francisco Pacheco, Velázquez's mentor and father-in-law.

The Adoration of the Magi is one of Velázquez's earlier paintings, and it represents his work in the religious sphere. His mentor and father-in-law, Francisco Pacheco, had close ties to the Society of Jesuits and was influential for Velázquez's religious paintings. Aligning with this, art historians Joan Ainard de Lasarte and José Gudiol believe that the work was initially meant to go to the Jesuit Novitiate of San Luis in Seville.[1]

The historian Julian Gallego asserts that Velázquez used his family as live models for this work, demonstrating his inspiration from Caravaggio further. Gallego alleges that Velázquez's wife, Juana, was the model for the Virgin Mary. Moreover, he believes that Velázquez's daughter, Francisca, was the model for the Christ Child, Francisco Pacheco was the model for Melchior, and that Velázquez used himself as a model for Gaspar. Finally, he states that either one of Velázquez's brothers or servants could have modeled for Balthazar. Antonio Domínguez Ortiz believes that while there is no evidence to support this theory, it remains likely that Velázquez used live models for the majority of characters in the painting.[1]

## Original dimensions of the painting

[edit]

1832 lithograph by Cayetano Palmaroli, showing a wider composition.

The original size of The Adoration of the Magi has been the subject of scholarly debate. The present dimensions of the painting are 79+5⁄8 by 49+1⁄4 inches (202 cm × 125 cm). Art historian José López Rey suggested that the canvas may have originally been larger, citing a lithograph made in 1832 by Cayetano Palmaroli and published by Elizabeth du Gué Trapier in 1948. This lithograph depicts a wider version of the painting, where the characters on the left and right of the work are not cropped but fully visible. However, López Rey has questioned the reliability of treating this lithograph as evidence. He proposed that Palmaroli may have reconstructed the missing parts based on his interpretation of Velázquez's sense of composition. López Rey noted the possibility that the present dimension may be original. While some of Velázquez's works were trimmed (e.g., Prince Baltasar Carlos as a Hunter) or augmented (e.g., The Weavers), the artist's general attraction to compactness may support that the current dimension reflected the artist's original intent. Additionally, the work is not a palace composition, but an altar painting, which was less likely to be altered or trimmed.[1]

## See also

[edit]

* List of works by Diego Velázquez

## References

[edit]

1. ^ a b c d e f g h i j k l m Domínguez Ortiz, Antonio (1989). Velazquez. New York: Metropolitan Museum of Art. pp. 60–67\. ISBN 978-0870995545.
2. ^ a b c d Carr, D. W., Bray, X., & Velázquez, D. (2006). Velázquez. London: National Gallery. p.136 ISBN 9781857093032
3. ^ Justi, Carl (2016). Velázquez and his Times. Parkstone International. p. 53\. ISBN 978-1780429816.

## External links

[edit]

* Velázquez, exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Adoration of the Magi (see index)

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Diego Velázquez

List of works

Genre|

* The Lunch (c. 1617)
* Old Woman Frying Eggs (c. 1618)
* The Farmers' Lunch (1618)
* Three Musicians (1618)
* The Waterseller of Seville (1618–1622)
* The Kitchen Maid (1620–1622)
* The Needlewoman (c. 1635–1643)

History|

* The Triumph of Bacchus (1628–1629)
* Apollo in the Forge of Vulcan (1629)
* The Surrender of Breda (1634–1635)
* Mars Resting (1640)
* Rokeby Venus (c. 1647–1651)
* Female Figure (1648)
* Las Hilanderas (c. 1657)

Religious|

* Christ in the House of Martha and Mary (1618)
* Saint Paul (1618–1620)
* Adoration of the Magi (1619)
* Joseph's Tunic (1630)
* Temptation of St. Thomas (1632)
* Christ Crucified (1632)
* Coronation of the Virgin (c. 1641–1644)

Portraits|

* The Nun Jerónima de la Fuente (1620)
* Don Luis de Góngora (1622)
* Philip IV in Armour (after 1623)
* Count-Duke of Olivares (1624)
* The Infante Don Carlos (1626–1627)
* Maria Anna (1630)
* Philip IV in Brown and Silver (1630s)
* Portrait of a Man (c. 1630)
* Prince Balthasar Charles with a Dwarf (1631)
* Don Juan Mateos (1632–1633)
* Doña Antonia de Ipeñarrieta y Galdós and Her Son Don Luis (1634)
* Count-Duke of Olivares (1635)
* Prince Balthasar Charles as a Hunter (1635)
* Juan Martínez Montañés (1635–1636)
* Pablo de Valladolid (1636–1637)
* Lady with a Fan (1638–1639)
* Philip IV in Fraga (1644)
* Francisco Lezcano (1645)
* Pope Innocent X (1650)
* Juan de Pareja (1650)
* Mariana of Austria (1652)
* The Infanta Maria Theresa of Spain (1652–1653)
* Infanta Margarita Teresa in a Peach Dress (1653–1654)
* Las Meninas (1656)
* Infanta Margarita in a White and Silver Dress (1656)
* Infanta Margarita Teresa in a Blue Dress (1659)
* Prince Philip Prospero (1659)
* Infanta Margarita Teresa in a Pink Dress (1660)

Equestrian
portraits|

* Elisabeth of France (c. 1628–1636)
* Count-Duke of Olivares (1634)
* Margarita of Austria (1634)
* Philip III (1634–1635)
* Philip IV (1635–1636)
* Prince Balthasar Charles (1635)
* Prince Baltasar Carlos in the Riding School (1636)

Jesters|

* Calabacillas (1626–1632)
* Don John of Austria (1632–1633)
* Barbarroja (1633)
* Calabacillas (1637–1639)
* Sebastián de Morra (c. 1645)
* Don Diego de Acedo (1645)

Landscapes|

* View of the Garden of the Villa Medici (c. 1630)

Portrayals|

* Statue of Velázquez (1899, Madrid)
* El ministerio del tiempo (television series)

* v
* t
* e

Museo del Prado

Buildings

* Villanueva building
* Casón del Buen Retiro
* Hall of Realms
* Cloister of Saint Jerome

Paintings

| Spanish|

* Esquivel: José de Espronceda
* Gisbert: Execution of Torrijos and his Companions on the Beach at Málaga
* Goya: Allegory of Industry – Asmodea – Atropos – Blind Man's Bluff – Boys Playing Soldiers – Charles IV of Spain and His Family – Los caprichos – Christ Crucified – The Clothed Maja – The Colossus – The Countess of Chinchon – Los disparates – The Dog – The Drunk Mason – The Duchess of Alba and la Beata – Fight with Cudgels – Josefa Bayeu – Judith and Holofernes – La Leocadia – Man Mocked by Two Women – La novillada – Portrait of the Marchioness of Santa Cruz – Men Reading – The Milkmaid of Bordeaux – The Naked Maja – The Parasol – A Pilgrimage to San Isidro – Pilgrimage to the Fountain of San Isidro – Saturn Devouring His Son – The Second of May 1808 – Self-Portrait at 69 years – Summer – The Third of May 1808 – Two Old Men – Two Old Ones Eating Soup – The Victorious Hannibal Seeing Italy from the Alps for the First Time – Witches' Flight – Witches' Sabbath (The Great He-Goat)
* El Greco: The Nobleman with his Hand on his Chest – Adoration of the Shepherds – Doña María de Aragón Altarpiece – Annunciation – Christ Carrying the Cross – The Fable – The Flight into Egypt – Holy Face of Jesus – Holy Trinity – Julián Romero and Saint Julian – Portrait of a Doctor – Portrait of a Gentleman – Portrait of a Young Nobleman – Portrait of an Elderly Man – Portrait of an Unknown Gentleman – Portrait of Jerónimo de Cevallos – Portrait of Rodrigo Vázquez de Arce – Saint Andrew and Saint Francis – Saint Anthony of Padua – Saint Bernardino of Siena [1] – Saint James the Great – Saint John the Evangelist – Saint Paul – Saint Sebastian – Saint Thomas the Apostle – Holy Trinity – The Saviour – Virgin Mary
* Luna: The Death of Cleopatra
* Maíno: Adoration of the Magi – Portrait of a Gentleman – The Recovery of Bahía de Todos los Santos
* Murillo: Adoration of the Shepherds (1650) – Aranjuez Immaculate Conception – The Christ Child and the Infant John the Baptist with a Shell – Christ on the Cross (1675, 1677) – The Conversion of Saint Paul – The Good Shepherd – The Holy Family with a Little Bird – The Immaculate Conception of El Escorial – The Immaculate Conception of Los Venerables – The Martyrdom of Saint Andrew – Our Lady of the Rosary – The Patrician's Dream – Rebecca and Eleazar
* Pradilla: Doña Joanna the Mad
* Ribera: Jacob's Dream – Democritus – Isaac and Jacob – Ixion – Tityos – The Martyrdom of Saint Philip – The Blind Sculptor
* Sánchez Gallque: The Mulattos of Esmeraldas [2]
* Velázquez: Las Meninas – The Triumph of Bacchus – Las Hilanderas – The Surrender of Breda – Mars Resting – Equestrian Portrait of Philip IV – Equestrian Portrait of Elisabeth of France – Equestrian Portrait of Prince Balthasar Charles – Equestrian Portrait of Philip III – Equestrian Portrait of Margarita of Austria – Equestrian Portrait of the Count-Duke of Olivares – Adoration of the Magi – Apollo in the Forge of Vulcan – Christ Crucified – Coronation of the Virgin – View of the Garden of the Villa Medici – Prince Balthasar Charles as a Hunter – Portrait of the Infante Don Carlos – Doña Antonia de Ipeñarrieta y Galdós and Her Son Don Luis – The Jester Barbarroja – The Jester Calabacillas – The Jester Don Diego de Acedo – The Jester Don John of Austria – Portrait of Francisco Lezcano – Infanta Margarita Teresa in a Pink Dress – Portrait of Maria Anna – Portrait of Juan Martínez Montañés – The Nun Jerónima de la Fuente – Portrait of Pablo de Valladolid – Portrait of Philip IV in Armour – Portrait of Mariana of Austria – Portrait of Sebastián de Morra
* Zurbarán: Agnus Dei – The Death of Hercules – The Defence of Cádiz Against the English – Hercules and the Hydra – Hercules Separates Mounts Calpe and Abylla – Hercules Fighting the Nemean Lion – Saint Elizabeth of Portugal – Saint Luke Painting the Crucifixion – Saint Peter Nolasco's Vision of Saint Peter the Apostle – Still Life with Pots – The Vision of Saint Peter Nolasco

|

Dutch,
Flemish,
German|

* Anonymous: The Fountain of Life
* Baldung: The Ages and Death
* Bosch: The Garden of Earthly Delights – Adoration of the Magi – Cutting the Stone – The Haywain Triptych – Head of a Halberdier – The Seven Deadly Sins and the Four Last Things – The Temptation of St Anthony
* Bouts: Triptych with Scenes from the Life of the Virgin
* Bruegel the Elder: The Triumph of Death – The Wine of Saint Martin's Day – Excursion in the Countryside of Infanta Isabel Clara Eugenia – Life in the Countryside – The Infanta Isabel Clara Eugenia in the Mariemont Park (with de Momper) – Landscape (with de Momper) – The Five Senses (with Rubens)
* Campin: Marriage of the Virgin – Werl Triptych
* de Crayer: Caritas Romana (1625)
* David: Rest on the Flight into Egypt
* Dürer: Adam and Eve – Self-Portrait
* van Dyck: Self-portrait with Sir Endymion Porter – The Betrayal of Christ – The Brazen Serpent – Diana and a Nymph Surprised by a Satyr – Saint Rosalia – The Crowning with Thorns
* van Hemessen: The Surgeon
* Francken the Younger: The Sciences and the Arts
* Jordaens: Apollo as Victor over Pan – Meleager and Atalanta – The Painter's Family
* Memling: Adoration of the Magi
* Mengs: Portrait of José Nicolás de Azara
* de Momper: Landscape with Sea and Mountains – A Farm – Flemish Market and Washing Place – Landscape with Skaters – The Infanta Isabel Clara Eugenia in the Mariemont Park (with Brueghel the Elder) – Landscape (with Brueghel the Elder)
* Patinir: Landscape with Charon Crossing the Styx
* Rembrandt: Judith at the Banquet of Holofernes
* Rubens: The Judgement of Paris (1638) – The Three Graces – Adoration of the Magi – The Dance of the Villagers – Diana and Callisto – Equestrian Portrait of the Duke of Lerma – The Fall of Man – The Garden of Love – The Birth of the Milky Way – The Rape of Europa – The Rape of Ganymede – Saint George and the Dragon – Saturn – The Triumph of the Church – Deucalion and Pyrrha – The Five Senses (with Brueghel the Elder)
* Stom: The Incredulity of Saint Thomas
* Strobel: Feast of Herod with the Beheading of St John the Baptist
* Teniers the Younger: Archduke Leopold Wilhelm in his Painting Gallery in Brussels (1651)
* Verhaecht: Alpine Landscape
* van der Weyden: The Descent from the Cross – Durán Madonna

Italian|

* Fra Angelico: Annunciation
* Anguissola: Portrait of Elisabeth of Valois – Portrait of Infanta Isabella Clara Eugenia [3] – Portrait of Giovanni Battista Caselli
* Barocci: Nativity
* Bellini: Madonna and Child with Saint Mary Magdalene and Saint Ursula
* Botticelli: The Story of Nastagio Degli Onesti, part one
* Caravaggio: David and Goliath
* Carracci: Assumption of the Virgin – Mural Paintings from the Herrera Chapel – Venus, Adonis and Cupid
* Correggio: Noli me tangere – Madonna and Child with the Infant John the Baptist
* A. Gentileschi: The Birth of Saint John the Baptist
* O. Gentileschi: The Finding of Moses (1633)
* Leonardo: Mona Lisa (by his studio)
* Lotto: Portrait of Marsilio Cassotti and His Bride Faustina
* Mantegna: Death of the Virgin
* Parmigianino: Holy Family with Angels – Portrait of Camilla Gonzaga and Her Three Sons – Portrait of Pier Maria Rossi di San Secondo – Saint Barbara
* Raphael: Portrait of a Cardinal – Christ Falling on the Way to Calvary – Madonna of the Rose – Visitation – La Perla (with Romano)
* Romano: Holy Family under an Oak Tree
* Andrea del Sarto: Sacrifice of Isaac
* Tintoretto: Christ Washing the Disciples' Feet – Joseph and Potiphar's Wife – Judith and Holofernes (by his studio) – The Washing of the Feet
* Tiepolo: The Immaculate Conception
* Titian: The Bacchanal of the Andrians – Equestrian Portrait of Charles V – The Fall of Man – Alfonso d'Avalos Addressing his Troops – Danaë Receiving the Golden Rain (1565) – The Entombment – La Gloria – Virgin and Child Between Saints Anthony of Padua and Roch – Mater Dolorosa with Clasped Hands – Philip II in Armour – Portrait of Charles V with a Dog – Portrait of Federico II Gonzaga – Portrait of Isabella of Portugal – Sisyphus – Tityus – Religion saved by Spain – Salome \- Self-Portrait (1567) – Saint Margaret and the Dragon – Venus and Adonis (1554) – Venus and Musician (1550, 1555) – The Virgin and Child with Saint George and Saint Dorothy – The Worship of Venus
* Veronese: Venus and Adonis – Christ Among the Doctors – The Finding of Moses

French|

* Anonymous: Agony in the Garden
* Baudry: The Pearl and the Wave
* van Loo: The Family of Philip V (1743)
* Lorrain: Landscape with St Paula of Rome Embarking at Ostia – The Ford – Landscape with St María de Cervelló – Landscape with the Burial of St Serapia – Landscape with the Finding of Moses – Landscape with the Temptation of St Anthony – Landscape with Tobias and Raphael
* Poussin: Parnassus – Landscape with Three Figures – Saint Cecilia
* Ranc: The Family of Philip V (1723) – Portrait of Ferdinand VI as a Boy
* Watteau: Marriage Contract and Country Dancing
* Vouet: Time Defeated by Love, Beauty and Hope

Other|

* British paintings

Sculptures

| Rome|

* The Apotheosis of Claudius
* Castor and Pollux

|

* [1] On display at El Greco Museum in Toledo
* [2] On display at Museo de América in Madrid
* [3] On display at the Spanish Embassy in Paris

* Category

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