Peter Paul Rubens, Adoration of the Shepherds
Rubens loved oil sketches. With his vivid designs in oils, he competed with sculptors to win large commissions for altars, for example. We have no clue for which large work or patron he executed this oil sketch or ‘modello’ from 1615-1616.
Peter Paul Rubens (1577-1640)
Adoration of the Shepherds
1615-1616
Oil on panel
On display at the Museum Plantin-Moretus (Antwerp)
Silent night, holy night... It is the nocturnal setting that made the Nativity such a great theme when working with light and shadow. Or better yet, to practice this effect. Rubens executed this oil sketch as a model for a larger painting or to be used as study material in his studio.
Triple light
The darkness is subtly disrupted three times: by a source of light behind the stable, by the radiant putti (naked, plump children with wings), and by the Christ Child. This makes sense because Jesus’ is the light of the world’. Expressive body parts such as faces and hands are highlighted beautifully with this effect.
Baroque versus Renaissance
This is just one of many nativities that Rubens painted during his lifetime. The significance of the Child in the manger was the ideal entry point for experimenting with chiaroscuro. This light and shadow technique was mainly used in the Baroque period to create theatrical effects and emotions. The Antwerp artist Jacques Jordaens also created several ‘adorations’ during this period.
Approval
An oil sketch usually served as preparation for a larger painting. Rubens would use a ‘modello’ to test the composition he had in mind. Before starting on the actual painting, he submitted the sketch to his patron for approval. This ‘customer-centric’ approach was considered pioneering at the time.
Teach others and keep learning
We still have no idea for which painting he made the Adoration of the Shepherds. It may have been a study object to teach the students in his studio about chiaroscuro. Rubens collected countless oil sketches for their and his own further education. He continued to work on night-time representations in later life.
Altar builder
Rubens also used oil sketches for the designs of tapestries, triumphal arches for a ‘Joyous Entry’, and even the construction of church altars. With his vivid representations, he competed with sculptors, winning major commissions. A unique altarpiece in our collection was probably an initial design for the high altar of St Charles Borromeo’s Church in Antwerp, built by and for the Jesuits between 1617 and 1620.
