After visiting the Accademia on Tuesday morning, I spent the afternoon at the Uffizi again. (I love this Friends of Uffizi card with unlimited repeat visits.) Upon reviewing Honthorst’s Adoration of the Shephards again, I have additional thoughts. First, here is the wall text:
Gerrit von Honthorst, Adoration of the Shephards, 1616-1617 Oil on canvas, private collection in Germany
One of the most important new attributions to Honthorst in recent years, this painting is on public display for the first time. Several copies exist which testify to the considerable popularity of the picture which may be one of his paintings associated with Genoa.
When I wrote my earlier post, I looked online to find a license-free photo to use. It turns out there are no photos available, licensed or otherwise, through some relatively diligent Googling. And the wall text explains why; it seems that it’s been in private collections for a long time and this is the first time it’s been publicly displayed. Combined with the fact that the owners have asked the Uffizi as a condition of the loan to not allow any photos (with flash or otherwise), this means that I have to describe everything in text and from memory.
- There are a total of 8 individuals in the painting:
- On the left, there are five shepherds—four men in square formation with a woman in the center.
- Mary and Jesus are in the center
- Joseph (i assume) is on the right
- There is an interesting progression of color, emotional tone, and realism as one moves from left to right.
- There are two bands of color—an upper layer and lower layer.
- Moving from left to right in th painting, the upper layer progresses from brown among the shepherds to white around Jesus and Mary, to red around Mary, then orange/light brown around Joseph on the far right.
- The lower layer is primarily brown for most of the painting from left to right, except it becomes dark brown around Joseph.
- There is a lot of subtle color coordination. For example, one of the shepherds has taken off his hat and it is a shade of dark blue that echoes the blue of Mary’s shawl. In addition, the woman on the left has a sleeve that has a hint of red that brings out the red in Mary’s dress on the center right. Finally, the gold sash or belt on Mary’s waist echoes the fringe of her neckline; both are highlights that are similar to the gold color of the straw upon which the newborn Jesus rests.
- The emotion among the three groups of people are different. On the left, the shepherds’ faces variously show wonder, reverence, joy, celebration, and laughter. Amusingly, the topmost shepherd looks like a young Robin Williams with a thin mustache. While the rightmost shepherd looks like an older, beareded Robin Williams.
- In the center, Mary and Jesus are serene.
- On the right, Joseph seems protective, somber, and possibly a bit distant.
- In addition to the expression on their faces, there is a lot of body language going on. Here are marks of celebration among the shepherds:
- “Old Robin Williams’” hands are held together as if in prayer. The old man with the beard closest to center and closest to Mary has a look of reverence with his eyes closed just as Mary’s are.
- The young bearded man in foreground, has his right hand is resting gently on sleeping lamb (obvious symbol of the sleeping Christ), and his left hand is holding his blue hat in mark of respect.
- The shepherd on the far left is so happy he is laughing. He points with his left hand in wonder.
- The same man uses his right hand to touch the right shoulder of the woman in front of him, as if to share in the joy and wonder. In reponses, the woman looks backwards at the man. Her left hand is outstretched with the palm up—a mark of wonder, submission, and supplication?
- Young Robin Williams has both hands raised, probably in excitement celebration in a gesture with both hands slightly closed (fingers curled), as if he were a Jedi removing his hood. It’s possible his right hand is wrapped around a staff or walking stick.
- The straw and hay that Jesus is lying on looks like gold, glowing fit for a King.
- Progression of realism from left to right: there are lots of highly detailed photorealistism on the left. Shapes become smoother more uniform, more divine and abstract? On the right. Movement from mortal to divine on the right. perhaps actually that is not Jospeh, but God the Father, protecting the candle of his son and of his people.
- New thought about man standing with candle on right. This must be Joseph, and what I noticed today for the first time is the way he holds the candle with his left hand and uses his right hand to shield the candle from errant winds. Jesus’ earthly protector.
- The Jesus light is brilliant, pure, white. In contrast, Joseph’s light seems not just dimmer, but yellower. Focus of painting is on Mary And Child, as well as the common folk who Jesus will save. Father Joseph is in darkness, with much less detail, fainted blotches of color.
- You can see the light shining through the cloth that mother Mary holds in her left hand, shining from Jesus’ head.
I’ll edit this post to clarify some of my notes when I have time. It’s off to museum again now!