Unknown painters – Nativity of Jesus
1460-1480 circa. Cremonese painter
Location: Academy Carrara (Accademia Carrara), Bergamo.
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The infant, positioned at the base of the composition, appears vulnerable and exposed against the sandy terrain. Surrounding this core group are several figures with wings – angels – who seem to be engaged in a form of adoration or celebration. Their poses are dynamic, suggesting movement and an almost ecstatic response to the event unfolding below.
The background is divided into distinct zones. A dark green area dominates the left side, punctuated by a rocky outcrop and glimpses of livestock, hinting at a rural setting. To the right, a structure with architectural details – possibly representing a stable or dwelling – is visible, bathed in a golden light that contrasts sharply with the darker tones elsewhere. Above this structure, another angel holds a banner, adding to the sense of celestial presence.
The color palette is restrained but significant. The dark hues of the central figure’s robes emphasize her importance and perhaps symbolize humility or mourning. The gold used for the halos and architectural details draws attention to the divine aspects of the scene. The earthy tones of the ground contribute to a feeling of groundedness, while the brighter colors associated with the angels suggest hope and spiritual elevation.
The artists use of linear perspective is rudimentary; figures appear flattened and lack depth. This stylistic choice contributes to the painting’s overall sense of formality and symbolic weight rather than realistic representation. The arrangement of elements suggests a hierarchical structure: the central figure commands attention, while the surrounding characters and landscape serve to contextualize her role within this significant moment.
Subtly, theres an interplay between earthly and heavenly realms. The presence of animals and natural features anchors the scene in a tangible world, while the angels and golden light evoke a sense of transcendence. This juxtaposition underscores the profound implications of the event being depicted – the intersection of the divine and human experiences.