The Adoration of the Kings
| Support Type: | Canvas |
| Paint Type: | Oil Paint |
| Current Location: | The National Gallery, London |
| Location History: | It was commissioned in 1649 by Tomasso Generotti, after his death in 1651, it was acquired by Florentine senator, Girolamo Gerini. Later in 1860, it became a part of the Mozzi collection in Florence. It was purchased by Mr. Walmesley in 1885 and was present in England by June 1889. After a period of uncertain history, the painting was sent (anonymously) to Sotheby’s New York for sale, where it was purchased by Hazlitt Gooden and Fox, London and exhibited in the exhibition - Italian and the Italianate (1991) and it is in the collection of the National Gallery, London, in the present time. |
Carlos Dolci (1616-1686) , known for his religious paintings, narrated the episode of the Adoration of the Kings (Gospel of Matthew 2:11) in this work. It shows three kings in kneeling posture before the Virgin Mary and the infant Christ, presenting gifts such as golds, frankincense and myrrh. Virgin Mary is shown at the centre of the composition, with a serene expression, and holding the infant Christ on her knee.The Christ Child is shown giving blessing to the king kneeling before him with his raised hand. The king’s turban is kept on the ground as a mark of reverence. The richness of the painting is shown through Kings’ opulent robes and embroidered garments. In fact, one of the kings is shown wearing a gold crown which is studded with jewels. The artist has used real (shell) gold for creating the halos of the holy family, including the light radiating from the Christ child. On the right side of the composition, the retinue of the kings’ can be seen, including camels, attendants, and a mountain landscape which indicates the long journey they have taken from the East. The artist also included himself, at the far right, wearing a red hat and peering through the doorway. This composition was highly popular amongst both Italian and English aristocrats, which is why Dolci created several versions of this theme. This painting is considered as Dolci’s largest and finest version and the work remains in perfect condition in The National Gallery, London, in the present time.