LEONAERT BRAMER, c. 1630

Full of Dutch Golden Age drama, Leonaert Bramer’s “The Adoration of the Magi” showcases a scene packed with theatre and movement.

It depicts the moments following the biblical birth of Christ. Mary reveals the Christ child to a group of onlookers, who shield their eyes against his divine glow. To the left of the group are the magi, who kneel in awe before the manger. Their richly decorated costumes establish their role in the scene, and are strikingly similar to those seen in Rembrandt’s work. Having also been active during the Dutch Golden Age, Rembrandt seems to have had a profound influence on Bramer’s style, visible also in his use of colour and light.

Flickering brushstrokes denote areas of reflected light, all radiating out from the Christ child. Lying at the centre of the composition, the viewer’s attention is immediately drawn to Christ, who is haloed by a heavenly radiance. In contrast, the remaining figures are cast in shadow, with harsh chiaroscuro highlights to clarify their forms. As a result, the angel’s candles appear remarkably dim, perhaps to emphasise this image of Christ as the “light of the world” (John 8:12), presented visually here in the literal glow he emits.

There is a remarkable sense of drama here. Bramer’s pronounced lighting, coupled with the theatrical gestures of the figures, creates a scene akin to a stage play. Likewise, the group seems to take no notice of the viewer, who is placed at a distance from them. Instead of being immersed in the moment, we are left to observe it, Bramer strategically placing each of the figures so that we might witness the Adoration in its entirety.

Overall, Bramer’s “The Adoration of the Magi” presents us with a moment of theatre: letting the viewer glimpse this miracle from afar. While it lacks the elegance typical to paintings of the Adoration, its liveliness adds an element of sincerity. Creating a scene that, behind all its pomp and drama, feels truly genuine.