Detail of The Adoration of the Magi by Quentin Met…
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The Adoration of the Magi by Quentin Metsys in the…
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Detail of The Adoration of the Magi by Quentin Metsys in the Metropolitan Museum of Art, January 2020
![Detail of The Adoration of the Magi by Quentin Metsys in the Metropolitan Museum of Art, January 2020 Detail of The Adoration of the Magi by Quentin Metsys in the Metropolitan Museum of Art, January 2020](https://cdn.ipernity.com/200/99/30/49789930.e1c42b2b.640.jpg?r2)
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The Adoration of the Magi
1526
Object Details
Artist: Quentin Metsys (Netherlandish, Leuven 1466–1530 Kiel)
Date: 1526
Medium: Oil on wood
Dimensions: 40 1/2 x 31 1/2 in. (102.9 x 80 cm)
Classification: Paintings
Credit Line: John Stewart Kennedy Fund, 1911
Accession Number: 11.143
This intentionally claustrophobic composition is characteristic of the Antwerp Mannerist style of the first half of the sixteenth century. The scene is viewed up close, with half-length, gesticulating figures separated from the viewer by a fictive ledge. Finely wrought goldsmith work—such as was actually produced for the opulent taste of the cosmopolitan community in Antwerp—abounds. The caricature-like features of the Magi and their retinue reveal the artist’s interest in the extreme physiognomic types popularized by Leonardo da Vinci and made available through prints. It was this interest in the psychology of physiognomy that made Metsys such a gifted portraitist.
Text from: www.metmuseum.org/art/collection/search/436984
1526
Object Details
Artist: Quentin Metsys (Netherlandish, Leuven 1466–1530 Kiel)
Date: 1526
Medium: Oil on wood
Dimensions: 40 1/2 x 31 1/2 in. (102.9 x 80 cm)
Classification: Paintings
Credit Line: John Stewart Kennedy Fund, 1911
Accession Number: 11.143
This intentionally claustrophobic composition is characteristic of the Antwerp Mannerist style of the first half of the sixteenth century. The scene is viewed up close, with half-length, gesticulating figures separated from the viewer by a fictive ledge. Finely wrought goldsmith work—such as was actually produced for the opulent taste of the cosmopolitan community in Antwerp—abounds. The caricature-like features of the Magi and their retinue reveal the artist’s interest in the extreme physiognomic types popularized by Leonardo da Vinci and made available through prints. It was this interest in the psychology of physiognomy that made Metsys such a gifted portraitist.
Text from: www.metmuseum.org/art/collection/search/436984
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