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The New Picture for the National Gallery - "The Adoration of the Magi" - painted by Paul Veronese, 1 Creator: Henry Duff Linton. The New Picture for the National Gallery - "The Adoration of the Magi" - painted by Paul Veronese
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The New Picture for the National Gallery - "The Adoration of the Magi" - painted by Paul Veronese, 1 Creator: Henry Duff Linton. The New Picture for the National Gallery - "The Adoration of the Magi" - painted by Paul Veronese
The New Picture for the National Gallery - "The Adoration of the Magi" - painted by Paul Veronese, 1856. Sir Charles Eastlake has secured to the British nation...a square-shaped Gallery sized picture...The Saviour (the new-born babe) is seen in the arms of his Virgin Mother. The Virgin herself has not much divinity of look: the race of Virgin Mary painters had passed by the time the great Venetian began to flourish. The rude manger is lost in a Palmyra of columns and the child to whom the offering is made, in a picturesque confusion of richly-dressed men, caparisoned camels and horses, and noble dogs and gold cups. A ray of Divine light is thrown from heaven on the Divine child; and Cupids (may we call them such?) sport in thin air very picturesquely...This fine picture is dated MDLXXIII [1573]'. From "Illustrated London News", 1856
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EDITORS COMMENTS
The Adoration of the Magi" by Paul Veronese, acquired by the National Gallery in 1856, is a magnificent square-shaped canvas that Sir Charles Eastlake brought to the British nation. In this masterpiece, the Savior, newly born and cradled in the arms of the Virgin Mary, is the focal point of the composition. However, Veronese's interpretation of the Virgin deviates from the traditional depictions of the time, as she appears more human than divine. The manger, a humble symbol of the birth of Christ, is almost lost in the grandeur of the surrounding Palmyra of columns. The child, who is the recipient of the Magi's offerings, is situated in a vibrant and picturesque scene filled with richly-dressed men, caparisoned camels and horses, and noble dogs. Gold cups and other treasures add to the opulence of the scene. A divine ray of light cascades down from the heavens, illuminating the child, while Cupids, or perhaps we can call them cherubs, frolic playfully in the air above. The painting, dated 1573 (MDLXXIII), is a testament to Veronese's mastery of color, light, and composition, and a stunning addition to the National Gallery's collection. This description was penned by Henry Duff Linton, published in the Illustrated London News in 1856, providing an insightful and eloquent account of this exquisite work of art.
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