  About the Artwork
  
  
  Like many seventeenth-century artists, Leonaert Bramer traveled to Italy, where he became acquainted not only with the art of the Italians but also with the art of other Dutch artists working there. In this dramatically illuminated nocturnal scene, Bramer intensifies the drama and the visionary quality through a rough application of paint and the nervous, flickering reflections of light. In the pronounced treatment of light and dark, the mood, and the choice of costumes, one may detect Rembrandt's influence, while the foliage and the rendering of the two angels are close to the art of Lastman.
  
  
  Title
  The Adoration of the Magi
  
  
  Artwork Date
  between 1630 and 1635
  
  Artist
  Leonaert Bramer
  
  
  
  Life Dates
  1596-1674
  
  
  
  
  Nationality
  
  
  
  Please note:
  Definitions for nationality may vary significantly, depending on chronology and world events.
  Some definitions include:
  Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation.
  
  
  
  Dutch
  
  
  
  Culture
  
  
  
  Please note:
  Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group.
  
  
  
  
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  Medium
  Oil on oak panel
  
  
  Dimensions
  Unframed: 16 1/2 × 20 1/2 inches (41.9 × 52.1 cm)
  Framed: 23 5/8 × 27 3/4 × 1 1/2 inches (60 × 70.5 × 3.8 cm)
  
  
  Classification
  Paintings
  
  
  Department
  European Painting
  
  
  Credit
  Founders Society Purchase, Joseph M. de Grimme Memorial Fund; and gifts from Mr. and Mrs. Edgar B. Whitcomb, Harriet Scripps, and Mr. and Mrs. Sol Eisenberg by exchange
  
  
  
  Accession Number
  
  
  
  This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection.
  Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings.
  For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups.
  
  
  
  1993.19
  
  
  Copyright
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