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There are four sources of light in the painting: the Moon is accurately depicted and reflects off the calm water. There is a fire near the shepherds at left, where the family is headed. At the centre of the composition, Joseph holds a torch that illuminates Mary and the infant, who are riding an ass.
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in a nocturnal setting, true to the biblical description. The darkness creates opposing feelings of intimacy and fear of the unknown. The painting channels the mysteries of night, pondered by humans for centuries, into this moment of the Holy Family seeking refuge.
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In addition to disclosing
Elsheimer's interest in scientific topics, the appearance of the Milky Way has a spiritual connotation—it symbolized the path to heaven beginning in the Middle Ages. Elsheimer's sky, wrote art historian
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The heavily treed landscape behind them is almost black, its outline forming a diagonal across the sky and completely containing the foreground figures. The diagonal is echoed in the night sky by the intricate band of the
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250:(1627), with its unique illumination, may have been inspired by Elsheimer's. Rembrandt would have been familiar with Elsheimer's work through high-quality engravings made by his friend
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Elsheimer's inventory shows the painting to have been located in his bedroom. The importance of
Elsheimer's painting can be judged from a letter dated 14 January 1611 from
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108:. At Elsheimer's death in Rome in 1610, this picture was hanging in his bedroom. Like many other artists before and after him, Elsheimer has depicted the biblical
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128:. For its innovative fusing of religious and landscape elements, and its detailed juxtaposition of light and darkness,
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is one of
Elsheimer's most well-known and lauded works. It is also likely his last painting, for he died a year later.
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Spicer, Joaneath A. (1999). "The Role of
Printmaking in Utrecht during the First Half of the Seventeenth Century".
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Howard, Deborah (1992). "Elsheimer's Flight into Egypt and the Night Sky in the
Renaissance".
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Cavina, Anna Ottani (March 1976). "On the Theme of
Landscape - II: Elsheimer and Galileo".
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at far left. Elsheimer is thought to be the first painter to accurately depict
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dating from about 1609, while he was in Rome. It is thought to be the first
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31 cm × 41 cm (12 in × 16 in)
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Parks, J. (2007). "Adam
Elsheimer: Rich and Magical Storytelling."
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467:(September 1972). "The Elsheimer Inventory and Other Documents".
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Elsheimer also inspired later artists, such as the German
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demanded by the widow. The painting eventually passed to
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Caspar David
Friedrich and the age of German Romanticism
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in which he discusses the extraordinary price of 300
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Quoted in Linda Ben-Zvi, Angela B. Moorjani (2008).
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573:"The Story Within a Landscape: Adam Elsheimer's
156:. Another readily identifiable constellation is
135:Elsheimer's treatment is unique in placing the
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351:Adam Elsheimer: Paintings, Drawings, Prints
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382:Dutch painting in the seventeenth century.
209:to the doctor, botanist and art collector
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269:. The fire's illumination in Friedrich's
124:seek refuge from possible persecution by
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384:2nd edition. Westview Press; pp. 94–95.
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445:Beckett at 100: revolving it all
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315:Zeitschrift für Kunstgeschichte
104:rendering of the night sky in
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16:Painting by Adam Elsheimer
497:Alfred A. Knopf; p. 106.
272:Evening on the Baltic Sea
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579:The Wall Street Journal
544:. Branden Books; p. 7.
493:Anne Hollander (1989).
469:The Burlington Magazine
406:The Burlington Magazine
348:Andrews, Keith (1977).
540:Siegel, Linda (1978).
267:Caspar David Friedrich
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198:(1613), engraving,
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67:Dimensions
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186:Influence
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380:(1993).
283:See also
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81:, Munich
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126:Herod
122:Jesus
546:ISBN
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57:Type
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