Pieter Bruegel the Elder's 'The Adoration of the Kings'

A crowded scene filled with dishevelled, curious faces, all hoping for a glance at the infant before them. What does this painting tell us about Pieter Bruegel the Elder’s world, his artistic process, and his imagination of this sacred moment?  

Pieter Bruegel the Elder’s ‘The Adoration of Kings’, 1564, is an unusual upright work by Bruegel, who was most famous for his landscapes. It depicts the moment the Three Kings come to visit Jesus, traditionally celebrated as the Adoration of the Kings or Epiphany on 6 January. It’s one of the Gallery’s many paintings that could easily rob you of a few hours, with so many details and characters to gaze upon. 

While the eye is drawn to the Virgin Mary in her blue cloak, and the spectacular fur of Casper (the king kneeling at the baby Jesus’s toes), it’s the contemporary figures on the periphery that really intrigue. For instance, the man on the far right, wearing spectacles, perhaps suggests that the crowd are, so far, unaware of Christ’s significance. The man in the green hat, leaning towards Joseph, echoes the position of the donkey in the background. And the throng of soldiers, despite their looming weapons, have faces that resemble caricatures. The claustrophobic scene is filled with a range of expressions, some grotesque and others comical, showing the medley of reactions to this miraculous event.  

Despite the devotional nature of the work, the kings themselves almost appear as parodies. On the left are Caspar and Melchior, who wear fine clothes but have lank, greasy hair. And Balthasar, on the right, has a makeshift crown, made from a simple scarf with protruding spikes.  

Although some of the colours have faded over time, particularly the reds, pinks and purples, this painting remains a sumptuous treat for the eyes. The red boot of Balthazar is hard to ignore, with its still relatively vibrant red, and elegant design. On closer inspection, you can see Bruegel’s underdrawing, which shows he made small changes to the position of the foot. The paint was applied thinly, and Bruegel used brushes to remove and apply paint as he worked. He would also work with his fingers, often at a rapid pace. In fact, he worked so quickly on this painting that he misspelled his own name and had to correct it! 

As with many joyous scenes of the birth of Christ in art, there are also references to his untimely and violent death. The company of soldiers are reminiscent of those who will arrest and crucify the adult Christ. If we look above the head of Mary, the soldiers lance assumes the shape of a cross, foretelling Christ’s fate. Even one of the gifts being offered to the new born foretells his death, myrrh was used to embalm the dead. And Christ himself sits in a white cloth, resembling a shroud.  

It’s interesting to note Bruegel’s influences, with his main inspiration being Hieronymus Bosch's ‘Triptych of the Adoration of the Magi’ (Prado, Madrid), 1494. In fact, Bruegel's work is said to be full of the wit and menace of his predecessor.

He is also said to have known Jan Gossaert’s ‘The Adoration of the King’, which can be found in the Gallery’s collection. Gossaert’s work was painted in 1510-15, around 40 years before Bruegel the Elder’s Adoration. Similarities include the portrait orientation of the work, and, perhaps more interestingly, the crowds of faces trying to get a look at the scene, an intriguing cast of observers. 

In another work by Bruegel the Elder, ‘The Adoration of the Kings in the Snow’, he positions the adoration, or worship, of the kings on the far left of the painting, partially blocked by the falling snow. The focus of the painting is on the town and the residents, wrapped up against the snowstorm, rather than the biblical scene unfolding.  

Taking a final moment to observe 'The Adoration of Kings’, we might wonder why it is so claustrophobic. Why does Bruegel the Elder choose to fill it with quirky characters, and imagine the adoration as a contemporary event? What was his intention? We don’t know Bruegel’s personal beliefs, or who commissioned the painting, but we do know that this work demonstrates his remarkable skill and talent as a painter.