The Nativity 1403 - 1413

Editor: Here we have "The Nativity" by Lorenzo Monaco, created sometime between 1403 and 1413, using tempera paint. There’s a dreamlike quality to it, almost otherworldly, but also somehow cozy with those oxen looking in. What do you see in this piece? Curator: Well, right away I'm struck by the use of gold, particularly in the halos and border. It's almost shimmering, isn't it? But beyond that, it feels as if Monaco is inviting us into a space of profound intimacy, of silent reverence. You can almost hear Mary’s quiet prayer, can't you? Editor: I do. And I was curious about how he frames it; there’s a strange kind of rock formation, but I don’t quite understand the angels either. Is that odd to depict so many different scenes? Curator: It's all very intentional. The craggy rocks contrast so beautifully with the serene smoothness of the figures; almost as if the challenges of life melt into smooth calm in His presence. Now, see how he handles the multiple viewpoints – it's a medieval convention. The Angel watching from on high, offering benediction with such drama! What about Joseph in his ochre robes, has he got something to say to you? Editor: That’s interesting. He seems almost…separated from it. Is that part of the story, this feeling of separation? Curator: It can be easy to overlook poor Joseph, there in the corner! But I read a calm acceptance. The colour and rendering, it almost says, ‘my role here is silent support.' Think of this painting less as a literal depiction and more as a meditation on a profound mystery. Editor: It does feel… quieter now, after talking about it. I noticed so much more than at first glance. Curator: Yes, its stillness and sense of quiet wonder. Like all great art, it's like glancing into a small pool - the further you stare, the deeper it goes.