17th Century, Venetian School, Adoration Of The Magi

17th century, Venetian school
Adoration of the Magi
Oil on canvas, cm 88.5 x 94
With frame, cm 67.5 x 75.5

The meeting between the three kings and the infant Jesus is staged here at dusk, whose dim light barely illuminates the figures creating strong contrasts between light and shadow. On the right you can see the hut that gave shelter to the Holy Family, from which a young man leans to be able to observe the scene.
The ox and the donkey that from the penumbra warm with their breath the family, but also participate in the story two dogs to confirm the Venetian derivation of the painting; already the masters of the sixteenth century Paolo Veronese, Tintoretto, Tiziano as well as the family of Bassano used to insert faithful doggies within their compositions dropping in the daily sacred story.
The present Adoration of the Magi shows in fact quotes from the Venetian masters not only in the animal presence but also and especially in the construction of the Virgin with child, slightly elevated position compared to the Magi, and the kneeling of one of the Kings, Probably Melchior seen the seniority and the box of gold that he gives to Jesus. These, in fact, are quoted from the Adoration of the Magi by Francesco Maffei (Vicenza, circa 1605 - Padua, 1660), at the Cathedral of Vicenza that in turn reproduces The Adoration of the Magi by Paolo Veronese (1528-1588) at the National Gallery in London.
That the painting in question is to be counted among the pictorial evidence of Venetian culture is also validated by the preciousness with which some details are made, especially as regards the fabrics, among which stands out the gold brocade of Melchiorre’s robe to underline its kingship, as well as in the description of the animal fleece or in the delicate shades of the sky in the background.