The Adoration of the Kings 1619

Editor: So, here we have Hendrick ter Brugghen's "The Adoration of the Kings," painted in 1619, in oil on canvas. There's something so intimate about it, almost like witnessing a secret. How would you interpret this work? Curator: Considering this painting from a historical perspective, it's interesting to note Ter Brugghen's Dutch Protestant background and how he’s tackling this Catholic subject. What choices do you think he makes in depicting a familiar scene, that move away from previous more ‘traditional’ depictions? Editor: I guess the earthy tones create a sense of realism that separates it from earlier, more idealistic, portrayals. And the way everyone is looking inward at the infant Jesus – it focuses on the emotional exchange, right? Curator: Exactly! The emotional tenor underscores a shift away from grand, ornate religious displays that were so typical of the Baroque period in other European countries. How does this more intimate portrayal possibly reflect the rising influence of the Dutch middle class and their values? Editor: I hadn’t thought about that, but it makes sense. They might have wanted something relatable rather than something grandiose and removed from their own lives. Curator: And what do you notice about the way ter Brugghen uses light and shadow? What purpose might the dramatic contrasts serve? Editor: The way he spotlights certain faces really pulls my eye and adds drama... I’d say it elevates these everyday people to saintly status. Curator: Exactly, by bringing this spiritual event into an accessible setting, ter Brugghen democratizes the sacred. Is there something radical about that at this moment in history, and if so, how does this challenge our own presumptions about Dutch Golden Age painting? Editor: I see now. Thanks. Curator: Likewise.