The Adoration of the Magi
c. 1478/1482
Painter, Florentine, 1446 - 1510
Sandro Botticelli, a Florentine, painted several versions of the theme of the Adoration of the Magi. The Magi, or wise men, were particularly venerated in Florence, as one of the city's leading religious confraternities was dedicated to them. The members of the confraternity took part in pageants organized every five years, when the journey to Bethlehem of the Magi and their retinue, often numbering in the hundreds, was re-enacted through the streets of Florence.
The Washington Adoration was probably painted in Rome, where Pope Sixtus IV had called the artist to fresco the walls of the Sistine Chapel, along with other leading Florentine masters of the day. Botticelli's linear and decorative Adoration is set in the ruin of a classical temple instead of a humble stable. This setting emphasizes the belief that Christianity arose from the ruins of paganism, and suggests a continuity between ancient and Christian philosophy.
Earlier Renaissance paintings of this theme, such as the Gallery's tondo by Fra Angelico and Fra Lippi, emphasize the pomp and pageantry of the scene. As painted by Botticelli in this late version, the religious aspect is stressed. Each figure is an expression of piety, the postures of their hands and bodies revealing devotion, reverence and contemplation on the divine mystery before them.
West Building Main Floor, Gallery 7
Artwork overview
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Medium
tempera and oil on poplar panel
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Credit Line
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Dimensions
painted surface: 68 x 102 cm (26 3/4 x 40 3/16 in.)
overall size: 70 x 104.2 cm (27 9/16 x 41 in.)
framed: 98.4 x 132.1 x 8.3 cm (38 3/4 x 52 x 3 1/4 in.) -
Accession
1937.1.22
Artwork history & notes
Provenance
Said to have been acquired from a private collection in Rome by the engraver Peralli.[1] Dominique Vivant Denon [1747-1825], Paris;[2] sold 1808 to Czar Alexander I of Russia, [1777-1825], Saint Petersburg; Imperial Hermitage Gallery, Saint Petersburg;[3] purchased January 1931 through (Matthiesen Gallery, Berlin; P. & D. Colnaghi & Co., London and New York; and M. Knoedler & Co., New York and London) by Andrew W. Mellon, Pittsburgh and Washington, D.C.;[4] deeded 5 June 1931 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[5] gift 1937 to NGA.
[1] Information given by E. Brüningk and Andrei Somov, Ermitage Impérial. Catalogue de la Galerie des Tableaux. Les Écoles d'Italie et d'Espagne, 3rd ed., Saint Petersburg, 1891: 73: "d'après le témoignage du baron Vivant Denon." No reference to an engraver named Peralli could be found in any of the generally used art dictionaries. It is know, however, that Botticelli's small panel St. Augustine in His Study (no. 1473 in the Uffizi in Florence), was acquired in 1779 through Piero Pieralli (see John Fleming, "The Hugfords in Florence," The Connoisseur 136 [1955]: 206). On Denon see the following note.
[2] Actually Brüningk and Somov 1891: 73 say only that the painting was acquired "par l'entremise" ("through the intermediation") of Denon. It is quite possible, however, that Denon--who, apart from being the creator of the Musée Napoleon, also had a very large private collection of paintings, art objects, and antiquities of his own (see Jean Chatelain, Dominique Vivant Denon et le Louvre de Napoleon, Paris, 1973: 260)--was already in possession of The Adoration of the Magi when in 1808 he was entrusted with augmenting the Russian Imperial collections (see Vladimir Levinson-Lessing, Istoria kartinskoi galerei Ermitaga, 1764-1917, Leningrad, 1985: 138).
[3] The list of abbreviations for Brüiningk and Somov (1891: xxxv) and Andrei Ivanovich Somov (Ermitage Impérial. Catalogue de la Galerie des Tableaux. Les Écoles d'Italie et d'Espagne, 2nd ed., Saint Petersburg, 1899 [3rd ed., 1909]: xxxiv) states that the sign "A," included in the entry relative to the NGA painting, means it was acquired by Czar Paul I (1754-1801). Yet this identification is obviously an error, since besides the fact that Paul I was notoriously un-interested in art collecting, the very date of the acquisition of The Adoration of the Magi for the Hermitage, seven years after the death of Paul I, proves that the painting entered the Imperial collection by request of his successor.
[4] See note 5. According to John Walker, Self-Portrait with Donors, Washington, D.C., 1974: 116, Matthiessen announced to his associates on 9 February 1931 that he had succeeded in buying The Adoration of the Magi. Art periodicals had begun to divulge the information by October 1931 ("Hermitage Art Reported Sold to A.W. Mellon," Art News 30 [17 October 1931]: 3, 13, which quotes an article that appeared earlier that month in The New York Herald Tribune; see also "Editorial: Breaking up the Hermitage," The Burlington Magazine 63, no. 365 [August 1933]: 53, but the acquisition was officially announced only in 1935 ("Mellon Holdings are Announced by Knoedler & Co.," Art News 33, no. 21 [23 February 1935]: 3-5; "Rundschau. Amerika," Pantheon [April 1935]: 150).
[5] The Mellon purchase date and the date deeded to the Mellon Trust are according to Mellon collection records in NGA curatorial files and David Finley's notebook (donated to the National Gallery of Art in 1977, now in the Gallery Archives).
In 2012 The Getty Research Institute, Los Angeles, acquired the M. Knoedler & Co. records (accession number 2012.M.54), and in 2013 processed portions of the archive were first made publicly available. An entry from a January 1931 Knoedler sales book confirms the sale to Mellon (on-line illustration of the sales book page, in Karen Meyer-Roux, "Treasures from the Vault: Knoedler, Mellon, and an Unlikely Sale," The Getty Iris [http://blogs.getty.edu/iris/author/kmeyerroux/], 30 July 2013).
Associated Names
Bibliography
1844
Viardot, Louis. Les Musées d’Allemagne et de Russie: Guide et memento de l’artiste et du voyageur. Paris, 1844: 471, as by Andrea Mantegna.
1863
de Koehne, B. Ermitage Impérial. Catalogue des tableaux. St. Petersburg, 1863: 3-4, as by Andrea Mantegna.
1864
Waagen, Gustav Friedrich. Die Gemäldesammlung in der kaiserlichen Ermitage zu St. Petersburg nebst Bemerkungen über andere dortige Kunstsammlungen. Munich, 1864: 29.
1869
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1879
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1886
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1891
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1893
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1896
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1897
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1899
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1900
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1901
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1902
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1903
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1906
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1907
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1908
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1909
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1912
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1913
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1921
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1922
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1923
Marle, Raimond van. The Development of the Italian Schools of Painting. 19 vols. The Hague, 1923-1938: 12(1931): 122, fig. 69.
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1925
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1929
Yashiro, Yukio. Sandro Botticelli and the Florentine Renaissance. London and Boston, 1929: pl. LXXV, fig. 32.
1931
“Hermitage Art Reported Sold to A. W. Mellon.” Art News 30 (October 1931): 3.
1933
Venturi, Lionello. Italian Paintings in America. 3 vols. New York and Milan, 1933: 2:pl.251.
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1935
Tietze, Hans. Meisterwerke europäischer Malerei in Amerika. Vienna, 1935: 54, repro. English ed. Masterpieces of European Painting in America. New York, 1939: 54, repro.
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“Rundschau. Amerika.” Pantheon 15 (April 1935): 147.
1936
Gamba, Carlo. Botticelli. Milan, 1936: 141, pl. 90.
Berenson, Bernard. Pitture italiane del rinascimento. Milan, 1936: 91.
1937
Venturi, Lionello. Botticelli. New York and Vienna, 1937: 16.
Jewell, Edward Alden. "Mellon's Gift." Magazine of Art 30, no. 2 (February 1937): 82.
Cortissoz, Royal. An Introduction to the Mellon Collection. Boston, 1937: 12.
Frankfurter, Alfred M. "New Items in the Mellon Collection." Art News 35 (13 February, 1937): 12.
“Le don de M. Mellon à la nation américaine.” Revue de l’arte ancien et moderne 71, no. 376 (1937): 84.
1938
Mesnil, Jacques. Botticelli. Paris, 1938: 67, 226, pl. XXX.
1941
"World Masterpieces Lend Supreme Distinction to National Gallery of Art." The Washington Star (16 March 1941): F6.
Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 29, no. 22.
1942
Book of Illustrations. National Gallery of Art, Washington, 1942: 239, repro. 76.
Bettini, Sergio. Botticelli. Milan, 1942: 31, pl. 72.
1944
Cairns, Huntington, and John Walker, eds. Masterpieces of Painting from the National Gallery of Art. New York, 1944: 40, color repro.
1945
“Italian Paintings in the Andrew W. Mellon Collection.” Connoisseur 115, no. 396 (June 1945): 115, repro.
1949
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1951
Einstein, Lewis. Looking at Italian Pictures in the National Gallery of Art. Washington, 1951: 46-48, repro.
1952
Vertova, Luisa. Botticelli. Milan, 1952: figs. 30-31.
1956
Walker, John. National Gallery of Art, Washington. New York, 1956: 18, color repro.
1957
Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 31.
Chastel, André. Botticelli. Milan, 1957: 30, 32, repro.
1958
Salvini, Roberto. Tutta la pittura del Botticelli, 2 vols. Milan, 1958: 1:28-29, 63-64, pls. 108-111.
1959
Shapley, Fern Rusk. Early Italian Painting in the National Gallery of Art. Washington, D.C., 1959 (Booklet Number Three in Ten Schools of Painting in the National Gallery of Art, Washington, D.C.): 30, color repro.
Murray, Peter. An Index of Attributions Made in Tuscan Sources Before Vasari. Florence, 1959: 32.
Chastel, André. Art et Humanisme à Florence au temps de Laurent le Magnifique: études sur la Renaissance et l’humanisme platonicien. Paris, 1959: 241 n. 2.
1960
The National Gallery of Art and Its Collections. Foreword by Perry B. Cott and notes by Otto Stelzer. National Gallery of Art, Washington (undated, 1960s): 6, repro.
1961
DeWald, Ernest T. Italian Painting 1200-1600. New York, 1961: 276, 277, repro.
1963
Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 82, repro.
Berenson, Bernard. Italian Pictures of the Renaissance: Florentine School, 2 vols. London, 1963: 1:38.
1964
Boskovits, Miklós. Botticelli. Budapest, 1964: 30.
1965
Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 17.
Salvini, Roberto. All the Paintings of Botticelli, 4 vols. New York, 1965: 2:72, pls. 108-111.
Ragghianti, Carlo L. “Consistenza e valore dei dipinti della Galleria degli Uffizi.” Critica d’Arte 12, no. 72 (June 1965): 18.
Mallé, Luigi. “Appunti albertiani in margine al ‘Della pittura’.” Arte Lombarda 10 (1965): 216.
1966
Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1:48, color repro.
Walton, William. "Parnassus on Potomac." Art News 65 (March 1966): 38.
1967
Mandel, Gabriel. The Complete Paintings of Botticelli. Milan and New York, 1967: 96.
1968
National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 10, repro.
Gandolfo, Giampaolo et al. National Gallery of Art, Washington. Great Museums of the World. New York, 1968: 11, 29, color repro.
Ragghianti, Carlo, ed. National Gallery, Washington. New York, [1968]: 29-30, repro.
Golzio, Vincenzo and Giuseppe Zander. L’arte in Roma nel secolo XV. Bologna, 1968: 233.
Stites, Raymond S. “La Madonna del Melograno di Leonardo da Vinci, 2.” Critica d’Arte 15, no. 97 (September 1968): 64, fig. 27.
1969
Hartt, Frederick. History of Italian Renaissance Art. New York, 1969: 282.
1972
Fredericksen, Burton B., and Federico Zeri. Census of Pre-Nineteenth Century Italian Paintings in North American Public Collections. Cambridge, MA, 1972: 34.
1973
Finley, David Edward. A Standard of Excellence: Andrew W. Mellon Founds the National Gallery of Art at Washington. Washington, 1973: 22, 23, repro.
1974
Walker, John. Self-Portrait with Donors: Confessions of an Art Collector. Boston, 1974: 115-116.
Sterling, Charles. “Fighting Animals in the Adoration of the Magi.” The Bulletin of the Cleveland Museum of Art 61 (1974): 358 n. 5.
1975
European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 36, repro.
Olson, Roberta J. M. “Studies in the Later Works of Sandro Botticelli.” Ph.D. diss. Princeton University, 1975: 185-190.
Ragghianti, Carlo L., and Gigetta Dalli Regoli. Firenze 1470-1480. Disegni dal modello. Pollaiolo, Leonardo, Botticelli, Filippino. Pisa, 1975: 84, 85, 128, figs. 39, 75.
1976
Santi, Bruno. Botticelli. Florence, 1976: 45.
Hatfield, Rab. Botticelli’s Uffizi “Adoration”: A study in pictorial content. Princeton, 1976: 36 n. 6, 71 n. 14, 72, 102, 113 n. 21.
Ettlinger, Leopold D., and Helen S. Ettlinger. Botticelli. London, 1976: 44-45.
1977
Stella, Maria Carmela. Le Adorazioni dei magi e la Natività mistica di Botticelli. Lanciano, 1977: 28-30.
1978
Olson, Roberta J. M. "Botticelli's Horsetamer: A Quotation from Antiquity which Reaffirms a Roman Date for the Washington Adoration." Studies in the History of Art vol. 8 (1978): 6-21, repro.
Lightbown, Ronald. Botticelli: Life and Work. 2 vols. Berkeley, CA, 1978: 1:68, pl. 29. 2:46-47, cat. B34.
1979
Watson, Ross. The National Gallery of Art, Washington. New York, 1979: 27, pl. 10.
Shapley, Fern Rusk. Catalogue of the Italian Paintings. 2 vols. Washington, 1979: 1:81-83; 2:pl. 53, 53.
1980
De Angelis, Rita. Boticelli: Every Painting. Milan and New York, 1980: 26, cat. 32.
1981
Beck, James H. Italian Renaissance Painting. New York, 1981: 182, 184, repro.
1983
Castelfranchi Vegas, Liana. Italia e Fiandra nella pittura del Quattrocento. Milan, 1983: 198.
1984
Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 94, no. 55, color repro.
1985
European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 56, repro.
1987
Horne, Herbert. H. Alessandro Filipepi commonly called Sandro Botticelli, Painter of Florence. Appendix III: Catalogue of the works of Sandro Botticelli, and of his disciples and imitators, together with notices of those erroneously attributed to him in the public and private collections of Europe and America. Ed. Caterina Caneva. Florence, 1987: 180, as School of Botticelli.
1988
Baldini, Umberto. Botticelli. Florence, 1988: 286.
1989
Pons, Nicoletta. Botticelli: catalogo completo. Milan, 1989: 67, cat. 50.
Lightbown, Ronald. Botticelli: Life and Work. Milan, 1989: 111-113, pl. 48.
Sekine. Istituto Giapponese di Cultura. The Japan Foundation. Annuario 23 (1989): 57 n. 13.
1990
Caneva, Caterina. Botticelli: catalogo completo dei dipinti. Florence, 1990: 74, cat. 36.
Gizzi, Corrado, ed. Botticelli e Dante. Ext. cat., Casa di Dante, Florence, 1990: 28.
1991
Kopper, Philip. America's National Gallery of Art: A Gift to the Nation. New York, 1991: 90-91, color repro.
Gingold, Diane J., and Elizabeth A.C. Weil. The Corporate Patron. New York, 1991: 50-51, color repro.
1992
National Gallery of Art. National Gallery of Art, Washington. New York, 1992: 22, repro.
Petrioli Tofani, Annamaria, ed. Il disegno fiorentino del tempo di Lorenzo il Magnifico. Exh. cat. Galleria degli Uffizi, Gabinetto Disegni e Stampe, Florence, 1992: 271.
Duwe, Gert. Die Anbetung der Heiligen Drei Könige in der italienischen Kunst des Trecento und Quattrocento. Frankfurt am Main, 1992: 175-180, fig. 17.
1993
Deimling, Barbara. Sandro Botticelli, 1444/5-1510. Cologne, 1993: 57-58, repro.
Gagliardi, Jacques. La conquête de la peinture: L’Europe des ateliers du XIIIe au XVe siècle. Paris, 1993: 633.
1994
Caneva, Caterina. “Ultime indagini sulla tarda Adorazione dei Magi di Botticelli agli Uffizi.” In Elizabeth Cropper, ed. Florentine Drawings at the Time of Lorenzo the Magnificent. Papers from a Colloquium held at the Villa Spelman, Florence, 1992. Bologna, 1994: 272.
1996
Hunter, Sam and Melissa de Medeiros. The Rise of the Art World in America: Knoedler at 150. Exh. cat. M. Knoedler & Company, New York, 1996: 13.
1997
Neverov, Oleg, and Mikhail Piotrovsky. The Hermitage: Essays on the History of the Collection, Saint Petersburg, 1997: 164-165, repro.
Paoletti, John T. and Gary M. Radke. Art in Renaissance Italy. London, 1997: 296, repro.
1999
Rubin, Patricia Lee, and Alison Wright with contributions by Nicholas Penny. Renaissance Florence: The Art of the 1470s. Exh. cat. National Gallery, London, 1999: 290, as by Botticelli, perhaps with Filippino Lippi.
2003
Boskovits, Miklós, David Alan Brown, et al. Italian Paintings of the Fifteenth Century. The Systematic Catalogue of the National Gallery of Art. Washington, 2003: 161-166, color repro.
2004
Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 24-25, no. 17, color repro.
2005
Cecchi, Alessandro. Botticelli. Milan, 2005: 142, repro., as by Botticelli, perhaps with Filippino Lippi.
Zöllner, Frank. Botticelli. Munich, London, and New York, 2005: 204, cat. 31.
2006
Körner, Hans. Botticelli. Cologne, 2006: 240, fig. 128.
Fahy, Everett. "Early Italian paintings in Washington and Philadelphia." The Burlington Magazine 148, no. 1241 (August 2006): 538.
Gasparotto, Davide. “La riscoperta ottocentesca di Botticelli: critici, artisti, collezionisti.” In Davide Gasparotto and Antonelli Gigli, eds. Il tondo di Botticelli a Piacenza. Milan, 2006: 19.
2009
Odom, Anne, and Wendy R. Salmond, eds. Treasures into Tractors: The Selling of Russia's Cultural Heritage, 1918-1938. Washington, 2009: 91, 99, 106 n. 89, 131, 135 n. 62, 202.
Acidini, Cristina, William Dello Russo, and Federico Poletti. Botticelli nel suo tempo. Milan, 2009: 22, 114, 277, repro.
2010
Nagel, Alexander, and Christopher Wood. Anachronic Renaissance. Brooklyn, 2010: 304, 305, fig. 24.3.
Dumbrowski, Damian. Die religiösen Gemälde Sandro Botticellis: Malerei als pia philosophia. Berlin and Munich, 2010: 89, 124-127, as by Filippino Lippi.
2011
Fiedler, Susanne, and Torsten Knuth. "Vexierbilder einer Biographie: Dr. Heinz Mansfeld (1899-1959)." Mecklenburgische Jahrbücher 126 (2011):307.
Singer, Nina. " Galerie Matthiesen." In Gute Geschäfte. Kunsthandel in Berlin 1933-1945. Exh. cat., Aktives Museum, Berlin, 2011: 73-80, repro.
Kustodieva, Tat'jana. Museo Statale Ermitage: La pittura italiana dal XIII al XVI secolo. Milan, 2011: 18.
2013
Semyonova, Natalya, and Nicolas V. Iljine, eds. Selling Russia's Treasures: The Soviet Trade in Nationalized Art 1917-1938. New York and London, 2013: 138, 139, 170, 198-199, repro.
2014
Hoff, Michael. _ Andacht und Identität: Zur Darstellung Christi in der Malerei der Florentiner Frührenaissance_. Marburg, 2014: 176-177, 182, fig. 96.
2015
Hui, Andrew. “The Birth of Ruins in Quattrocento Adoration Paintings.” I Tatti Studies in the Italian Renaissance 18, no. 2 (September 2015): 319-320, 330-332, 334, fig. 4.
2016
Jaques, Susan. The Empress of Art: Catherine the Great and the Transformation of Russia. New York, 2016: 398.
Warner-Johnson, Tim, and Jeremy Howard, eds. Colnaghi: Past, Present and Future: An Anthology. London, 2016: 58-59, color plate 6.
2021
Debenedetti, Ana. Botticelli: Artist and Designer. London, 2021: 198 n. 39.
Gianeselli, Matteo. “Sandro Botticelli et la France du XIX2 siècle: musées et collectioneurs.” In Ana Debenedetti and Pierre Curie, eds. Botticelli, artiste & designer. Exh. cat. Musée Jacquemart-André, Paris, 2021: 65 n. 4.
2022
Acidini, Cristina. Botticelli. Pisa, 2022: 126, repro.
2023
Rinaldi, Furio. “Newly attributed drawings by Botticelli.” The Burlington Magazine 165, no. 1441 (April 2023): 363, figs. 10, 12.
Rinaldi, Furio, ed. Botticelli Drawings. Exh. cat. Legion of Honor, Fine Arts Museums of San Francisco, 2023: 122, 278 n 59.
Wikidata ID
Q3201474