By Colonial Museum
Gregorio Vásquez de Arce y Ceballos (attributed)
Adoration of the Shepherds (Siglo XVII) by Gregorio Vásquez de Arce y Ceballos (attributed)Colonial Museum
The theme of this work is the visit of the shepherds to the newborn Jesus at the gate of Bethlehem. This scene from the life of Jesus has been widely depicted in art since the Middle Ages.
The composition and iconography of this episode began to become popular in the 15th century. To establish them, the artists took as a reference the Gospel of Saint Luke, the only one that describes the scene.
According to the gospel, a choir of angels announced the birth of Jesus to a group of shepherds. In the painting, we see this chorus at the top of the image. In it, angels dance and play musical instruments.
Towards the background of the painting, we see the scene of the annunciation to the shepherds depicted: three men surrounded by sheep are surprised by the appearance of an angel and by the news it brings.
After the announcement, the group of shepherds goes to see the newborn Child, whom, to their astonishment, they find in a manger: a white sheet serves to the resting of his naked body.
To the left of the Child, we see Saint Joseph, who carries in his hand the flowering rod, one of his attributes; next to him, the Virgin, dressed in a red tunic and blue mantle, joins hands in prayer.
To the portrait of the characters, the painting adds allegorical elements that suggest the idea that the Son of God was predestined to die on the cross and to rise again. The ox represents the sacrifice of the Messiah; the donkey, to those who did not recognized.
Before the newborn baby, we see a shepherd bow and offer the Child a basket of eggs, a symbol of Christ’s resurrection on the third day of his death on the cross. A dog, animal usually associated with loyalty, accompanies the young man.
On the right, we see a second shepherd bowing. A red shirt and cap on his head allow us to recognize the character. He offers the Child the hen he holds in his left hand, a symbol of Christ’s feeling of unconditional love for humanity.
Next to the seven shepherds who surround the Holy Family, the half-naked boy stands out, holding a bagpipe and a flute, directing his gaze away from the scene, towards the spectator. According to some theories, it would be a portrait from life, although it is not known by whom.
Adoration of the Shepherds
Gregorio Vásquez de Arce y Ceballos (attributed)
Oil on canvas
84 x 67 cm
17th century
Créditos
MUSEOS COLONIAL Y SANTA CLARA
Museum Director
María Constanza Toquica Clavijo
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María Alejandra Malagón Quintero
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María Isabel Téllez Colmenares
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Paula Ximena Guzmán López
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