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The Adoration of the Magi
1624 · Oil on panel · Koninklijk Museum voor Schone Kunsten Antwerpen (KMSKA)
For the Epiphany · 6 January
Sizes
image 7.4×10 in on a 8×10 in sheet
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Dots per inch: how many pixels of the museum’s file go into each inch of paper. Our floor is 240 for sheets up to 20 inches, 180 up to 36 inches and 120 beyond, because a larger print is seen from further away. We never offer a sheet below the floor, and the number on each size is the one you receive.
Hahnemühle Photo Rag, 308 gsm cotton rag · pigment inks · printed to order
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All editionsAbout this painting
A king kneels in white and swings a censer toward the Christ Child. The KMSKA identifies him as Caspar, placed closest to Him and dressed in vestments like a priest's at Mass, and Steven Zucker and Beth Harris of Smarthistory call that Peter Paul Rubens's own invention, joining the Magi's gift to the incense of the altar. Our Lady stands rather than sits, holding her Son out on the manger, set off-centre to the right. Behind the kings, camels, soldiers in helmets and a man in a turban press in. A classical column rises by the stable's broken wall; Smarthistory ties it to the marble frame of the high altar of St Michael's Abbey the painting was made to fill, so the painted stone continues the real. Rubens's own mother, the KMSKA notes, lay buried in that church. At the manger the ox keeps its head down.
Sources: KMSKA object page · Steven Zucker and Beth Harris, Smarthistory · Canon van Vlaanderen
And entering into the house, they found the child with Mary his mother, and falling down they adored him: and opening their treasures, they offered him gifts; gold, frankincense, and myrrh.
Matthew 2:11 · Douay-Rheims (Challoner)