
The Nativity
Perugino·1500–05
Historical Context
Perugino's Nativity (1500–05) belongs to a series of small devotional panels that demonstrate his studio's ability to produce refined religious images efficiently for multiple patrons. At the turn of the sixteenth century Perugino commanded the most successful workshop in central Italy, with a production method that standardized figural types and landscape settings across dozens of commissions. His Nativities share a distinctive quality of hushed reverence — the shepherds kneel at a respectful distance, the angels hover weightlessly, and the landscape fills with soft light — that made his devotional paintings the paradigm of High Renaissance piety. The formula proved enormously influential across Umbria and beyond.
Technical Analysis
Perugino's tempera technique on panel creates clear, luminous colors and smooth, idealized forms. The figures are arranged with the classical balance and symmetry that Perugino taught to Raphael. The landscape background demonstrates his characteristic handling of receding space through graduated blue-green tones.
Provenance
Alexander Barker, London, by 1852 to at least 1857 [lent to London 1852 and Manchester 1857]; sold by Barker to William Ward (d. 1885), first Earl of Dudley, London, by 1868 [lent by Dudley to Leeds 1868]; sold Christie’s, London, June 25, 1892 (nos. 76-77, 79-80. The Resurrection, no. 78, was sold separately and is now in the Metropolitan Museum of Art), to Durand-Ruel, Paris and New York, acting on behalf of Martin A. Ryerson [according to letters from Durand-Ruel to Ryerson dated June 25 and 29, 1892 in the Art Institute archives]; sold by Durand-Ruel to Martin A. Ryerson (d. 1932), Chicago, 1893 [according to the bill of sale dated April 8, 1893 in the Art Institute archives]; intermittently on loan to the Art Institute from 1893; bequeathed to the Art Institute, 1933.
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