Triptych depicting the Adoration of the Kings

As late as the 16th century, many artists found it unnecessary to sign their works. As a consequence, we encounter a paradoxical situation: on the one hand, major bodies of work can be assigned only with so-called “notnamen” (a German term meaning contingent or necessity name), while on the other hand, contemporary sources have transmitted the names of numerous highly productive artists which can no longer be related reliably to the works they created. Earlier, the present artist was known
only as the Master of the Death of the Virgin. He received his “notname” for two altarpieces devoted to that theme which are preserved in Cologne and Munich. In all likelihood, however, he is identical with “Joos van Cleve alias van der Beke”, an artist mentioned in Antwerp documents, who acquired his master craftsman status in 1511, and belonged to the painters’ guild as a dean from 1519 until 1525.
Joos van Cleve, who was probably a native of the Lower Rhine, and presumably a student of Jan Joest van Kalkar, received decisive, creative impulses from the art of Memling and Gerard David in Bruges. In Antwerp, he became familiar with the works of artists such as Patinir, Massys, and the Antwerp Mannerists. A journey to Italy may have brought him into contact with the art of Leonardo da Vinci. Joos van Cleve’s altarpieces and portraits were known and prized beyond the Netherlands as well. He worked for a period of time as a portrait painter at the court of François I of France, and travelled to England in order to paint Henry VIII.
This small Triptych with the Adoration of the Magi, originally intended for private devotion, comes from the middle period of Joos van Cleve’s career. When the triptych is closed, the outer sides of the wings show Saints Christopher and Sebastian, painted in grisaille to resemble stone sculptures, and both contrast effectively with the reddish-brown background of the painted niches (fig. left). More festive in comparison and executed in glowing colours are the inner sides of the altarpiece. The central panel and the wings are unified into an expansive landscape that stretches out all the way to the bright sky above the horizon, and extends across the entire breath of the altarpiece. The middle of the composition is dominated by the towering ruins of a palace-style structure with arches, columns, and pilasters, along with a gilded statue. Seated in the foreground is the Virgin with the Christ child on her lap, his hand stretched out towards the Magi, who pay him homage and offer gifts.
The attire and appearance of the Magi indicate their origins from the realms of the world known at that time, i. e. Europe, Africa, and Asia. Kneeling before the child is the king of the Occident, identified by his chain of the Order of the Golden Fleece. Standing in the background, and holding his hat reverentially in his hand, is Joseph. In accordance with tradition, the artist represents him as a venerable old man, bearded and with white hair. Visible under the roof of the stable are an ox and a donkey which stand in front of a feed trough. Their presence is derived from Old Testament prophecies pertaining to the arrival of the Lord of the World. They show that not only humanity, but creatures as well recognise the Redeemer. Set beneath the open sky, not far from a group of bizarre cliffs, is the meeting of the three kings with their entourages. The expansive landscape with its multitude of precisely observed details betrays the impact of the panoramic landscapes of Joachim Patinir, with whom Joos van Cleve worked on various occasions.
Depicted on the right-hand wing with a book in one hand and a feather in the other is Saint Barbara, who is identified by her attribute: the tower, which looms up powerfully behind her. Her counterpart on the left-hand wing is Saint Catherine, whose elaborate clothing and crown allude to her royal origins. In her right hand, she holds a sword, whose tip rests on a wheel set with iron teeth. According
to legend, she was to have been bound to the torture wheel. In response to her prayers, however, this instrument of martyrdom was destroyed by fire which fell from the heavens. Finally, the saint was beheaded and her body carried to Mount Sinai by angels. With much love of detail and great delight in storytelling, Joos van Cleve has depicted the miraculous event of the burning wheel in the landscape
behind the saint. Like Saints Christopher and Sebastian, both shown on the outer wings of the altarpiece, Saints Catherine and Barbara belong to the group of the Fourteen Holy Helpers, who were treated with special reverence beginning in the later Middle Ages. Rainald Grosshans | 200 Masterpieces of European Painting – Gemäldegalerie Berlin, 2019