| Nativity or Notte (Night) or Adoration of the Shepherds) | |
|---|---|
 | |
| Artist | Giovanni Lanfranco |
| Year | c. 1606-1607 |
| Medium | Oil on canvas |
| Dimensions | 256.5 cm× 188 cm(101.0 in× 74 in) |
| Location | Alnwick Castle, Alnwick, England |
The Nativity or Adoration of the Shepherds) is an oil on canvas painting created around 1606-1607 by the Italian painter Giovanni Lanfranco. It is now in Alnwick Castle, England.
The Nativity painting illustrates a nocturnal scene, wherein the splendorous newborn Jesus lies in his mother's arms, and illuminates up the surrounding faces of adoring shepherds, men and women, and children. The elder man at the right base is presumed to be Joseph, the husband of Mary. Similar luministic arrangements of this or a similar subject had been painted previously by Correggio and Barocci.
It is likely the painting was acquired as part of the ‘Camuccini Collection’, 74 paintings acquired by Algernon Percy, 4th Duke of Northumberland, from Rome in 1856.
In the Christian tradition, a nativity scene is the special exhibition, particularly during the Christmas season, of art objects representing the birth of Jesus. While the term "nativity scene" may be used of any representation of the very common subject of the Nativity of Jesus in art, it has a more specialized sense referring to seasonal displays, either using model figures in a setting or reenactments called "living nativity scenes" in which real humans and animals participate. Nativity scenes exhibit figures representing the infant Jesus, his mother, Mary, and her husband, Joseph.
The Adoration of the Magi or Adoration of the Kings is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him. It is related in the Bible by Matthew 2:11: "On entering the house, they saw the child with Mary his mother; and they knelt down and paid him homage. Then, opening their treasure chests, they offered him gifts of gold, frankincense, and myrrh. And having been warned in a dream not to return to Herod, they left for their own country by another path".
The Adoration of the Shepherds, in the Nativity of Jesus in art, is a scene in which shepherds are near witnesses to the birth of Jesus in Bethlehem, arriving soon after the actual birth. It is often combined in art with the Adoration of the Magi, in which case it is typically just referred to by the latter title. The Annunciation to the Shepherds, when they are summoned by an angel to the scene, is a distinct subject.
The Nativity is a painting finished around 1529–1530 by the Italian painter Antonio da Correggio. It is housed in the Gemäldegalerie Alte Meister, Dresden.
The Adoration of the Shepherds, sometimes still known as the Allendale Nativity, after a former owner, is a painting by the Italian Renaissance painter Giorgione, completed in about 1505 to 1510. The attribution is now usual, although not universal; the usual other view is that it is an early Titian. It is certainly a Venetian painting of that period. It is displayed in the National Gallery of Art of Washington, D.C., United States.
The Nativity of Jesus has been a major subject of Christian art since the 4th century.
The annunciation to the shepherds is an episode in the Nativity of Jesus described in the Bible in Luke 2, in which angels tell a group of shepherds about the birth of Jesus. It is a common subject of Christian art and of Christmas carols.
William Blake drew and painted illustrations for John Milton's nativity ode On the Morning of Christ's Nativity between 1803 and 1815. A total of 16 illustrations are extant: two sets of six watercolours each, and an additional four drawings in pencil.
The Nativity at Night or Night Nativity is an Early Netherlandish painting of about 1490 by Geertgen tot Sint Jans in the National Gallery, London. It is a panel painting in oil on oak, measuring 34 × 25.3 cm., though it has been cut down in size on all four sides. The painting shows the Nativity of Jesus, attended by angels, and with the Annunciation to the shepherds on the hillside behind seen through the window in the centre of the painting. It is a small painting presumably made for private devotional use, and Geertgen's version, with significant changes, of a lost work by Hugo van der Goes of about 1470.
The Adoration of the Shepherds is a painting by the northern Italian Renaissance artist Andrea Mantegna, dated to c. 1450-1451.
Advent and Triumph of Christ is an oil painting on a panel of wood, painted c.1480 by German-born Early Netherlandish painter Hans Memling. It was made for the altar of the Tanners' guild in Our Lady's Church in Bruges, but is now held by the Alte Pinakothek in Munich.
The Nativity is one of a pair of monumental paintings by the Pre-Raphaelite artist Edward Burne-Jones commissioned for the chancel of the church of St John the Apostle, Torquay, England, in 1887. The Gothic Revival church was designed by architect George Edmund Street in the 1860s and decorated by Morris & Co., the decorative arts firm in which Burne-Jones was a partner.
The Nativity is a devotional mid-1450s oil-on-wood panel painting by the Early Netherlandish painter Petrus Christus. It shows a nativity scene with grisaille archways and trompe-l'œil sculptured reliefs. Christus was influenced by the first generation of Netherlandish artists, especially Jan van Eyck and Rogier van der Weyden, and the panel is characteristic of the simplicity and naturalism of art of that period. Placing archways as a framing device is a typical van der Weyden device, and here likely borrowed from that artist's Altar of Saint John and Miraflores Altarpiece. Yet Christus adapts these painterly motifs to a uniquely mid-15th century sensibility, and the unusually large panel – perhaps painted as a central altarpiece panel for a triptych – is nuanced and visually complex. It shows his usual harmonious composition and employment of one-point-perspective, especially evident in the geometric forms of the shed's roof, and his bold use of color. It is one of Christus's most important works. Max Friedländer definitely attributed the panel to Christus in 1930, concluding that "in scope and importance, [it] is superior to all other known creations of this master."
The Adoration of the Shepherds is a painting of 1633–34 by the French painter Nicolas Poussin (1594–1665), now in the National Gallery, London. It is in oils on canvas, and measures 97.2 by 74 centimetres. Unusually for Poussin, it is signed "N. Pusin.fe" ["fecit"] on the stone at lower right. By 1637, soon after it was painted, it was owned by Cardinal Gian Carlo de' Medici (1611–1663), the second son of Grand Duke Cosimo II of Tuscany and was placed in his villa outside Florence.
Nativity is a 1603-1605 painting of the Nativity of Jesus by El Greco. It was one of five paintings painted for the high altarpiece of the Santuario de Nuestra Señora de la Caridad in Illescas, Toledo. It and three others still hang there, whilst the fifth is in the National Museum of Art of Romania.
Adoration of the Shepherds is a c.1534 oil on canvas painting by Lorenzo Lotto, signed "Lottus" and now in the Pinacoteca Tosio Martinengo in Brescia. Its dating is based on stylistic motifs such as the naturalistic details similar to those of the Recanati Annunciation. It also shows similarities to nativities painted around the same time by Girolamo Savoldo, whom Lotto met in Venice. It seems to have been commissioned by Braccio II and Sforza Baglioni, two noblemen from Perugia, who were the models for the two shepherds. They may have met the artist in the Marche during a pilgrimage to Loreto. A ring on Mary's right hand is probably an allusion to the Holy Ring, a relic in Perugia Cathedral, which supports the idea that the work was produced for that city. This provenance is solely based on an account from 1824 by the art-dealer who that year sold it to Paolo Tosio, a count from Brescia.
Adoration of the Shepherds is a c. 1480 tempera and gold on panel painting by Carlo Crivelli. It is now in the Museum of Fine Arts in Strasbourg, for which it was acquired in Florence by Wilhelm von Bode. Its inventory number is 171. Art historians are uncertain about the dating of the painting, and propositions have ranged from 1470 to 1491.
The Nativity is an oil painting by Italian artist Piero della Francesca, dated to 1470–75. The painting depicts a scene from the birth of Jesus, and is one of the latest surviving paintings made by the artist before his death in 1492. Held by the National Gallery, London, it measures 124.4 cm × 122.6 cm and is from the Holy Bible.
Nativity or Rest on the Flight into Egypt is a c.1521–1522 oil on panel painting by Parmigianino, now in the Courtauld Gallery in London.
The Nativity is an egg tempera painting by Victor. Victor is sometimes referred to as Victor of Crete. Victor was active from 1645 to 1696. He traveled all over the Venetian empire. He settled in Zakinthos. Some of his important works can be found in the church San Giorgio dei Greci in Venice. He is a very important Greek painter because of his existing catalog. His works of art exceed ninety-five paintings. One of his notable works was his version of Christ the Vine.
 | This article about a seventeenth-century painting is a stub. You can help Wikipedia by expanding it. |