Nativity of the night
| Support Type: | Wood Panel |
| Paint Type: | Oil Paint |
| Current Location: | 1925–Present (London, United Kingdom) Purchased by the National Gallery through the art dealer Cassirer, where it has remained on public display ever since. |
| Location History: | The Chronological Location History of the painting is rather long. In c.1490 (Haarlem, Netherlands)It was painted by Geertgen tot Sint Jans, likely for private devotional use in the Netherlands. After the devotional use it traveled in c. 1900 to (Paris, France) The painting was purchased by the prominent Berlin art collector Richard von Kaufmann. By theEarly 20th Century (Berlin, Germany) Maintained by the Kaufmann family. During its time in Berlin, the painting suffered historical fire damage, which caused the dark areas of the paint to blister. After all the hazard , In 1917 (Berlin, Germany) the was sold at the von Kaufmann estate auction to collector Michiel Onnes. From 1917–1923 (Breukelen, Netherlands) it Housed at the Castle of Nijenrode by Michiel Onnes.1923–1925 (Amsterdam, Netherlands) then again Sold at auction and held by the ironfounder and collector Hans Tietje.1925–Present (London, United Kingdom) Purchased by the National Gallery through the art dealer Cassirer, where it has remained on public display ever since. |
The painting of Nativity of the night shows us the biblical story of The Birth Of The Chirst,in the paintings the innocent forms of the figure in the painting are highlighted by a beautiful light and shadow play. The angel in the sky and the light radiation from the baby christ with the angels around him adoring makes it luminous and gives the painting the tone of nativity in the painting. The shadow play is brought about the figures of Joseph, Ass and the ox and the lambs in the back staring at the angels in the sky and the lit fire. The mary of the painting is paitient and the theological value of the painting is resolved by the light play of the painting. The Influence of the Devotio Moderna Movement of the late 15th century had its effects on the painting. The church audiences shifted from mass prayers to private small knit group prayers and this painting was painted for an intimately deep fostering session with God.
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