Adoration of the Magi

One of Jan van Scorel’s earliest known works, this image of three kings from distant lands paying tribute to the newborn Jesus incorporates elements of northern and southern European visual traditions. The refined landscape, intricate costumes, and individualized faces of the figures attest to lessons the artist likely learned from his Netherlandish predecessors. The elaborate architectural carvings, on the other hand, recall ancient Roman wall decoration.

Van Scorel likely made this work while traveling to study in Italy: the panel on which it is painted is made of fir, a wood rarely used in the Low Countries but one he might have encountered on his way across the Alps. Van Scorel was praised by the first biographer of Netherlandish artists as the “lantern bearer” who brought the Italian Renaissance style back to Northern Europe.

The physical object — Oil on panel, 44.4 × 55.2 cm (17 1/2 × 21 3/4 in.); Framed: 62.6 × 75 × 5.8 cm (24 5/8 × 29 1/2 × 2 1/4 in.) — carries its own history of handling and restoration. Jan van Scorel's brushwork here moves between exacting description and looser, more suggestive passages, a balance typical of Renaissance studio practice.

Look closely and the painting opens up. Objects you might pass over — a folded letter, a half-drawn curtain, the angle of a glance — were placed to be read. Scale and setting do political work here, elevating the subject above the room it would have hung in.

Art Institute of Chicago in Chicago now holds the work, where conservators and historians continue to revisit its condition and attribution. Each generation of scholarship adds a layer to how Jan van Scorel's output from this period is understood.

“A silence so complete it becomes its own witness.”