The Adoration of the Kings Pieter Brueghel The Elder (1525-1569)

Description of Peter Brueghel’s painting The Adoration of the Magi

Peter Bruegel uses a fairly common subject of Catholic iconography. The centerpiece is the Holy Family, around which the images pile up. The painting is done in a warm color scheme, so the figure of the Madonna contrasts with her surroundings and serves as the compositional center.

The Virgin Mary is holding a baby on her lap, part of her figure covered by a blue cloak. The Magi are the symbol of the three continents so well known to medieval man. Two of them hold out their gifts to the Infant Christ and his mother. The faces of the Magi, more like grimaces expressing despair, and their bodies are involuntarily frozen in a solemn bow.

Balthasar stands at Madonna’s left hand. He is utterly calm, and his face stands out sharply against the background of his light clothing. Joseph sits behind his beloved, looking aloof at the same time. He does not care about what is happening, so he unwittingly listens to the passerby. While the wise men were presenting their gifts, people crowded around the stable. There are quite a few townsfolk, but there are also brutal soldiers with guns at the ready.

Perhaps Bruegel is alluding to biblical motifs, which were extremely popular among medieval inhabitants. In fact, it is not easy to understand the author; his painting is allegorical. The birth of a child does not bring joy to people if there is war in the world. In doing so, the artist is referring more to the current situation in the country than to holy scripture.

Bruegel painted the picture in 1564. The Netherlands, at that time, was on fire, and the population was at war with Spain. Not surprisingly, believers could not accept the painting The Adoration of the Magi. The caricatured characters and indifferent image of Joseph had an inappropriate effect on the commoners, with a seemingly traditional subject matter.