Art Talk: Visual Analysis: The Nativity through the Renaissance

I saved the last of my Cambridge visual analysis paper for December, as it is a celebration of Christ's birth! Merry Christmas!

The biblical account from Luke 2:16 notes,

And they came with haste and found Mary, and Joseph, and the babe lying in a manger”.

This line has been a source of inspiration for artists for centuries, particularly in the depiction of the nativity scene. Artistic interpretations have reflected not only the religious devotion but also evolving trends in art and culture. During the Renaissance, a period marked by a revival of classical learning and an emphasis on humanism focused on the past, artists began to approach this sacred narrative with innovative techniques and perspectives. In his book Northern Italian Painters of the Renaissance, Bernard Berenson suggests “The study of art, as distinct from art fancying, and from the biography of the artists, should be, in the first place, a study of specific ideas embodied in works of art”. Embracing this analytical approach, this essay will examine how Liberale da Verona, Cosimo Rosselli, and Lorenzo Lotto—three influential Renaissance painters from central and northern Italy—utilized naturalism, perspective, and light and shadow to transform the depiction of the nativity from 1485-1523.

Naturalism
During the Renaissance, artists increasingly embraced naturalism, a style distinguished by its detailed and realistic portrayal of figures and settings. This style marked a significant departure from the flatter and more stylized representations characteristic of the Medieval and Proto-Renaissance periods. An interesting facet of naturalism is its nuanced application in portraiture, which, as Joanna Woods-Marsden discusses in her essay "Ritratto al Naturale": Questions of Realism and Idealism in Early Renaissance Portraits, often involved a tension between realism and idealism. According to Woods-Marsden, although patrons gave instructions to be “portrayed as if from nature or life”, they wanted these depictions cast in an idealized way. A similar tension appears in religious paintings, where artists attempted to create authentic, relatable figures that also possessed divine and holy qualities. In the context of the nativity, naturalism allowed for a more profound and personal engagement with the sacred scenes and people in them.

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Although not all elements are rendered naturalistically—such as the Corinthian column under the thatched roof, some of the distant foliage, or the size of the Virgin Mary—Rosselli successfully integrates naturalism elsewhere. The figures are depicted realistically: each figure is presented as individual with recognizable features, ages and genders, despite their similar somber expressions. Their gestures are natural: the infant reaches up to his mother in typical infant-like motion, the older angel places its hands on the shoulders of John the Baptist offering encouragement and support, while the younger angel supports Jesus's head. The plants in the foreground are precisely detailed and recognizable, further enhancing the scene's naturalism.

After examining The Adoration of the Christ Child by Rosselli, this essay now examines the naturalism in The Nativity by Liberale da Verona [Figure 3]. This intimate scene depicts Joseph and Mary kneeling over the baby Jesus, clad in robes that echo the color scheme of the Rosselli painting: red and blue for the Virgin Mary, and blue and yellow for Joseph. The composition is enriched by the presence of an ass and a donkey positioned just behind Mary, making this a more rural scene. Mary is situated in front of a wooden structure, while Joseph is set against the backdrop of a peaked mountain. In the crevasse of the mountain and cliff, there are two figures in shadow that add a sense of interest and wonder to the painting.

Da Verona incorporates naturalism in the painting through color and details. The warm earthy browns and greens of the grass, mountain, stable, and animals provide a realistic outdoor setting. The bright colored, fine clothing of the main figures of Mary and Joseph provide a contrast to the natural elements around them and highlight them as the main figures in the painting. Da Verona also skillfully paints texture. The thatched roof, branches supporting the stable, rugged lines and trees on the mountain and cliff all enhance the realistic effect of the painting.

Concluding the discussion of naturalism, this essay will now look at The Nativity by Lorenzo Lotto [Figure 4]. This nativity scene, like both of the paintings already discussed, is also an intimate portrayal of Mary and Joseph in their fine garments leaning over the infant Jesus shortly after his birth. Similar to Rosselli’s painting, angels are also present, enhancing the sacred atmosphere of the scene. The composition of the painting is anchored by a pyramid formation of three central figures. This triangular arrangement not only grounds the scene but also directs the viewer's attention towards the infant, who is visually linked to the female figure by the white elements of her shawl and his blanket.

Similar to Rosselli and Da Verona, Lotto also placed the scene outdoors, next to the structure instead of inside of it. This setting allows Lotto to display his skill in depicting natural environments and allows the viewers an intimate look at the holy family during this tender part of Christ’s birth story. The casual placement of the cup on the strewn hay in front of the infant demonstrates the artist’s skill in depicting everyday objects. Lotto also includes symbolic elements that enhance the spirituality of the painting. A crucifix is positioned in the top left corner and a pair of doves are straight across from it, both in deep shadow. The crucifix foreshadows the death of Jesus, linking his birth and death in this scene. The dove presents the symbol of good tidings and peace in stark contrast of to the crucifix. The shepherd tending his flock on the horizon references the shepherds that visited Christ shortly after his birth.

Perspective
Building on the use of naturalism, perspective became another technique used by artists to instill a sense of realism and depth within their works enhancing the naturalism of a painting. Also originating during the Renaissance, two main techniques of perspective—linear and atmospheric (or aerial)—have become essential tools for artists. Linear perspective, developed by Filippo Brunelleschi, employs converging lines that meet at one or more vanishing points on the horizon to create an illusion of depth. This mathematical approach allowed artists to construct more realistic and spatially articulate scenes. Atmospheric or aerial perspective contributes to the illusion of depth by altering the color and clarity of objects as they recede into the distance, mimicking the natural effects of the Earth’s atmosphere on distant objects.

Atmospheric perspective represents a significant shift from the gold-leafed backgrounds typical of medieval art, as exemplified by Duccio di Buoninsegna’s The Nativity with the Prophets Isaiah and Ezekiel [Figure 2] where the figures appear stacked on one another.

Figure 2. Close up of The Nativity with the Prophets Isaiah and Ezekiel, Duccio di Buoinsegna, 1250/1255-1318/1319, National Gallery of Art, Washington DC, photo Sara Jarvie

This painting serves as a point of reference to contrast the minimal use of atmospheric perspective in earlier works with the more advanced techniques employed in Renaissance art. This section of the essay will explore how Verona, Rosselli and Lotto utilized aerial perspective to enhance the depth and realism of their nativity scenes.

Figure 3. The Nativity, Liberale Da Verona, late 15th- early 16th century, Isabella Stewart Gardner Museum, Boston, Massachusetts, photo Sara Jarvie

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The first nativity painting this section will explore is The Nativity by Liberale Da Verona dated between the late 15th and early 16th centuries. [Figure 3] It is prominently displayed in the Isabella Stewart Gardner Museum in Boston, Massachusetts. A renowned collector of Italian Renaissance art, Isabella Stewart Gardner was deeply influenced by humanist ideals of education, art, and the potential of humanity. Her commitment to these values was so profound that upon her death in 1924, she bequeathed her museum to the public “for the education and enjoyment of the public forever”.
Verona creates a basic illusion of depth by positioning the infant Jesus, a man’s staff, and a bag in the foreground, thereby drawing the viewer’s gaze into the scene. The middle ground features a man and a woman adorned in richly colored robes with an ox and a donkey subtly placed beside the Virgin Mary. The background extends into a landscape featuring a stable and mountains, beyond which Verona leads the viewers gaze towards a pale sky and a distant horizon, enhancing the depth in this sacred scene.

The Adoration of the Christ Child, painted by Cosimo Rosselli and dated between 1485 and 1507, is featured in the Rijksmuseum’s extensive collection of Italian paintings, which includes 198 works spanning from the thirteenth to the nineteenth century. Similar to Liberale da Verona, Rosselli strategically arranges elements within the painting to guide the viewer’s gaze from the foreground to the horizon. The eye is first drawn to an assortment of detailed plants in the foreground, leading to a central grouping of the figures which include; the baby Jesus, two angels, young John the Baptist, and the Virgin Mary. The rich, dark green of one angel’s robes and the vivid blue and red of Mary’s robes highlight the colors at the front of the painting. As the viewer’s eye moves towards the background, the colors and details of the mountains, trees, and hills gradually become lighter and less defined. This use of atmospheric perspective, where colors fade with distance, is executed more effectively by Rosselli than by Verona.

Of the three nativity scenes discussed, Lorenzo Lotto’s rendition is the most successful in terms of atmospheric perspective. The Nativity by Lorenzo Lotto at the National Gallery of Art in Washington, DC was painted in 1523, at the end of the High Renaissance. It is now part of the Samuel H Kress collection. This collection has more than 3,000 works of European art, with robust assortment of Italian Renaissance paintings. Samuel Kress started the foundation in 1929 and like Isabella Stewart Gardner he was deeply influenced by humanist ideals of education, art, and the potential of humanity. According to the Kress Foundation, Kress “established the foundation to share the artistic legacy of Europe with the American people”. The sense of depth in the painting is enhanced by Lotto's use of atmospheric perspective, which layers the scene from front to back: a white bag and cup in the foreground, the main figures of Joseph and Mary in their rich colors of yellow, orange, red, blue and white kneeling next to baby Jesus in the basket, followed by the structure with its thatched roof and ladder leaning on the side wall, and finally a landscape with a small dark figure and mountains stretching to the horizon under a pale blue sky.

Light and Shadow
Another distinct method artists used during the Renaissance is a more defined rendering of light and shadow. By casting shadows on the figures and objects, artists were able to give their paintings more perspective and realism. The use of light and shadow created illusion of depth, making scenes more lifelike. The term chiaroscuro, which originated during the Renaissance, is the use of light and shade to create dramatic effects. Using this technique, artists could direct the viewer’s attention to the most important parts of the image by highlighting them with light. This natural lighting also made more realistic paintings.

The first analysis in this section is The Natvity by Lorenzo Lotto [Figure 4]. He was born in Venice in 1480 and was known for his frequent relocations, which Peter Humfrey attributes to his pursuit of attractive commissions. These travels exposed him to a wide range of artistic influences and styles. A deeply religious man, Lotto was an exponent of the movement to restore “Christ as the sole foundation and intermediary of the entire ecclesiastical structure and religious practice.” This dedication is evident in this nativity painting, where he uses lines and light and shadow to effectively make Christ as the focal point of the painting.

Figure 4. The Nativity, Lorenzo Lotto, 1523, National Gallery of Art, Washington, DC, photo Sara Jarvie

In the top half of the painting, a crucifix is positioned in the left corner and a pair of doves are straight across from it, both in deep shadow. Directly above the infant, three angels hold a scroll. These three elements lead the viewers gaze around the top half of the picture. The viewers gaze is then directed downward toward the infant as we follow the gaze of the angels, the man and woman, and the tilt and direction of the ladder against the building all pointing to the infant.

There are two light sources in this painting: one is coming from above and casting shadows on both the building and the figures. Distinct shadows are seen beneath the woman’s chin and neck and under her folded arms. There is a similar shadow on the man’s face and left shoulder and under his arms. The infant also has shadows under his back and legs. The second light source is coming from the right side, in the barn, and it shines on the two doves. This beautiful use of chiaroscuro creates a dramatic effect and highlights the doves and peace.

Cosimo Rosselli is described as a well-regarded and influential man during his lifetime. He was invited in 1504 to serve on a committee, which included members like Leonardo da Vinci and Sandro Botticelli, to choose the site for Michelangelo’s sculpture of David. He was also a highly influential teacher in the 1480s and 1490s, significantly impacting a diverse group of painters. Born in 1439 in Florence, Italy to a family of artists, Rosselli is celebrated for his contributions to the Sistine Chapel in 1481-1482 alongside Botticelli, Perugino, and Ghirlandaio. Paula Nuttal points out in her chapter The life and Times of Cosimo Rosselli, that "The last two decades of Cosimo’s activity were devoted almost exclusively to altarpieces.” This nativity painting was created during this time, which according to the museum was between 1485 and 1507.

Compared to Lotto, Roselli, uses considerably less light and shadow. There is some shading on the Virgin Mary’s face, hands and blue robe. With his shading the viewer perceives the light source coming from the top left of the frame. Shadows in the path of this light source can be seen on the angels and their wings and garments, while John the Baptist casts a shadow that falls toward Mary. Another use of light that Roselli employs is the rays of light coming from behind Christ child, indicating he is a source of divine light.

To conclude the discussion of light and shadow this essay will now discuss the painting by Liberale da Verona. As his name suggests, Liberale is from Verona, Italy. Born in 1445, he lived until 1526/1529, a significant time not only marked his death but also coincided with the sack of Rome and the end of the High Renaissance. As the leading figure in the revival of Veronese painting, Liberale was initially trained in the art of miniaturist painting. His work was profoundly influenced by the styles of Andrea Mantegna and Jacopo Bellini.

This nativity painting centers around three figures—a woman kneeling in front of a wooden stable, a man kneeling before a pointed rock, with both directing their attention and gaze towards an infant at the bottom center. Structurally, the painting is defined by a mix of vertical, horizontal, and diagonal lines, which impart a sense of stability and grandeur. Da Verona adds bit a of light and shadow to the painting to give it a sense of realism and depth. The thatched hut features an interesting mix of light and dark areas, mimicking natural light effects. The primary light source emanates from the top left of the frame, similar to Rosselli’s painting. Shadows fall convincingly on the right side of the ox and donkey and within the folds of Joseph’s robes. The right side of the mountain is also cast in shadow, as are the mysterious figures in the crevice.

During the Renaissance, a period of profound cultural and intellectual revival, artists were often commissioned by the Church to create visual narratives that would serve worshippers who were illiterate. These artworks served not only as decorative pieces but also as educational tools, conveying religious stories and moral lessons through visual means. Many of these religious images, such as Nativity scenes, were the artists' interpretations of accounts found in the scriptures.

In the Nativity scenes discussed in this paper, each artist—Liberale da Verona, Cosimo Rosselli, and Lorenzo Lotto—offers a unique interpretation of the scriptural passage from Luke 2:16, which describes the shepherds finding Mary, Joseph, and the baby Jesus lying in a manger. Each artist brought distinct styles and perspectives to this sacred narrative and each also used common techniques such as naturalism, perspective, and chiaroscuro.

In addition to the use of rich and meaningful symbolism in their paintings, these artists also embraced and experimented with innovative techniques and ideas prominent during the Renaissance. For instance, they employed naturalism to depict figures and objects with realistic detail, capturing the human form and the natural world in ways that were not known in earlier periods. They also explored the principles of perspective, a method developed during the Renaissance, to create a sense of depth and three-dimensionality in their compositions. Furthermore, their sophisticated use of light and shadow not only added realism to their works but also filled them with emotional and spiritual qualities, enhancing the viewer's connection to the divine narrative.

Bibliography
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Blumenthal, Arthur R. Cosimo Rosselli: Painter of the Sistine Chapel Exhibition [Cornell Fine Arts Museum at Rollins College in Winter Park, Florida, February, 9 through April 22, 2001]. Winter Park (Fla.): Cornell fine arts museum, 2001.
Brown, David Alan, Peter Humfrey, Mauro Lucco, and Augusto Gentili. Lorenzo Lotto: Rediscovered Master of the Renaissance. Washington : New Haven: National Gallery of Art ; Yale University Press, 1997.
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The Holy Bible. Salt Lake City, Utah: Church of Jesus Christ of Latter-day Saints, 1979.
“The Kress Legacy Timeline,” n.d. https://www.kressfoundation.org/About/The-Kress-Legacy-Timeline.
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