LEONARDO da Vinci
(b. 1452, Vinci, d. 1519, Cloux, near Amboise)
Adoration of the Magi1481-82
Charcoal, watercolour, ink and oil on wood, 244 x 240 cm
Galleria degli Uffizi, Florence
Since the Early Christian era, the 6 January has been celebrated as the feast of Epiphany, the appearance of God amongst men in the form of Jesus Christ. Mankind is represented by the Three Kings, who are paying homage to the Messiah. The fall of the pagan world began at the same time as his appearance. Leonardo appears to have depicted this moment, so dramatic in human history, in his panel. It remained unfinished because Leonardo left Florence and moved to Milan, though we do not know why he did so. Chemical reactions and soiling mean it is now difficult to read this fascinating panel in detail.
With this painting Leonardo declares his independence from Verrocchio, emerging with a fresh, personal style. Although unfinished, this painting is far more innovative than his previous works. The composition is constructed around a central, pyramidal grouping of figures, and, most significantly, Leonardo here incorporates lights and darks in the underdrawing of this painting.
Even though the panel remained unfinished, the Adoration of the Magi, with its symmetrically composed main group which differs from the traditional linear composition, is now considered one of the most progressive works in Florentine painting. It puts into practice the demands Alberti made of history paintings in a way no other work in its era does. All the figures are involved in the events in the picture. The distinguished kings display their emotions in a more dignified manner than the accompanying figures around them, and the overall number of participants is kept within moderation. The figures are grouped in a circle around Mary and are expressing, with more or less vigorous gestures, their emotion at the first demonstration of divinity of the Christ Child.
The painting also differs from the traditional way of depicting the Adoration in Florence by means of the puzzling scenes in the background, the equestrian battles and an unfinished staircase. This led to the assumption that the Augustinian convent of San Donato in Scopeto, which had commissioned the picture, wanted to use this picture composition in order to convey its own theological interpretation of the Adoration theme.