This painting describes the common subject of Adoration of the Magi, here depicted in a unique stage-like manner, perhaps influenced from religious plays in Bosch's hometown of Hertogenbosch.[5] As was common by the late 15th century, Balthasar is differentiated from his companions, Melchior and Caspar, through his clothing and appearance as an African king. The painting focuses on the presentation of gifts to the Christ child. Melchior offers a golden flagon and basin decorated with pearls and gems. Caspar offers a ciborium holding myrrh. Finally, Balthasar offers an elaborate cup topped with a bird pecking at itself.[5]
Attribution
The precise authorship of this panel is and has been disputed. In the early 20th century, art historian Charles de Tolnay listed it as contested and insinuated it was a later copy of Bosch's work. However, in 2016, the Bosch Research and Conservation Project confirmed its attribution to Bosch based on evidence in the underdrawing. Infrared technology shows that it was completed in brush, Bosch's preferred tool. Additionally, the sketch also shows multiple revisions, suggesting it was not a copy, but an ongoing creative process.[5]
↑M. Ilsink and J. Koldeweij, Hieronymus Bosch: Visions of Genius, Yale University Press 2016, pp.58-61
↑Luuk Hoogstede, Ron Spronk, Matthijs Ilsink, Robert G. Erdmann, Jos Koldeweij, Rik Klein Gotink, Hieronymus Bosch, Painter and Draughtsman: Technical Studies, Yale University Press, 2016, pp. 172 – 181
Matthijs Ilsink, Jos Koldeweij, Hieronymus Bosch: Painter and Draughtsman – Catalogue raisonné, Yale University Press, New Haven and London 2016, pp 216–223
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