The Nativity, one of Petrus Christus’ most important devotional paintings, emphasizes the sacrificial nature of Christ’s coming and shows the scene as part of a chain of events in the story of the Fall and Redemption of humankind. In the foreground, a sculpted archway displays scenes of the Fall as described in Genesis. Below Adam and Eve, Atlas-like figures symbolize humanity burdened by Original Sin. The artist’s depiction of the scene is like an act from a mystery or Passion play, the figures clothed in simple Flemish costume and provided with a landscape backdrop of what, at first, appears to be a Netherlandish town. However, with its two domed buildings, it would be understood as Jerusalem, the scene of the events of Christ’s Passion.
Uncomplicated painting depicting the nativity
At the opposite edge of the painting, we see the sleeping Joseph. One of the first things we note is St. Joseph’s age and physical condition. In Goya’s rendition of this scene, Joseph is young (no more than middle-aged) and virile. This coincides with a movement in recent generations to depict Joseph as a man who would walk to Bethlehem and Egypt and back; and who could be a strong protector and provider for the Holy Family of Nazareth. We can imagine that Joseph, in this moment, was exhausted not only from work, but also from agonizing over his difficult decision. Advent offers each of us an opportunity to make two requests of the Lord, regardless of age. We can ask the Lord to help us surrender and rest as we make difficult decisions; and we can ask the Lord to fill us with the courage of St. Joseph, which was the courage to act on the message of the Lord.
Beside Joseph as he sleeps are a walking stick and some kind of red garment, both meant to signify Joseph’s future in his relationship to Jesus and Mary. He would be told to walk from Nazareth to Bethlehem for a census, with his wife who was near to delivering Jesus. Soon after that trek, Joseph would be told in another dream to take Jesus and Mary to Egypt for safety, an even more arduous pilgrimage. For both of these, Joseph would need courage: courage to face the dangers of the road; and the courage to accept the social ramifications of his decision. That is the courage of martyrdom. Each of us, regardless of age or life condition, needs to ask for such courage.
In the center of the painting is the messenger of the Lord. This angel’s wings seem to bring us directly into Joseph’s dreamy sleep. The angel’s left hand reaches up to Heaven, while the right hand rests on Joseph’s shoulder, signifying that the dream was a message conveyed directly from God to this man. During Advent, and as I ponder this piece of art, I ought to ask the Lord if there is any particular message that the Lord desires me to receive. I ought to ask the Lord to overcome my lack of awareness, even by the miraculous means of coming in a dream, if it is necessary.
We also can learn something important from Goya’s use of color. Joseph is covered by a beige or brown tunic. Only his sleeves bear a little bit of vibrant color. This might be intended to convey his humanity, and the fact that he was “a righteous man.” His original decision was based on human righteousness, but his deep connection to God offered a glimmer of hope. Mary wears a magenta garment and a blue shawl. This might be the artist’s attempt to convey that Mary was fully human, but that she was cloaked in divine grace by means of the Immaculate Conception. Finally, the angel is wrapped in a garment of blue and green hues. A viewer quickly notices the contrast between the angel and Joseph, while Mary bears qualities of both. This provides an opportunity for the faithful to ask for the grace to be transformed and become more attuned to the Divine Voice and divine ways; and to ask for Our Lady’s intercession in this process.
In this biblical narrative, the most hopeful part of the message is that Emmanuel, God with us, “will save his people from their sins.” This line offers hope and consolation because it helps us to remember that we don’t have to be the savior for ourselves or anyone else. Goya paints this reality well. Mary and Joseph are not active in this scene. They passively receive what God has to say and give. Thank goodness, during Advent, we can throw up our hands and admit that we don’t have all the answers or the ability to solve every problem. We can become passive receivers of His divine grace, His message, while He ministers to all our needs.
Come, Lord Jesus, be with us in our needs and our weaknesses!
St. Joseph’s Dream is in the public domain.
Provenance
Señora O. Yturbe, Madrid.[1] (Franz M. Zatzenstein, Berlin and later London); [2] sold 1930 to (Duveen Brothers, Inc., London and New York); purchased 15 December 1936 by The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[3] gift 1937 to NGA.
[1] The picture seems never to have belonged to the Duchess of Parcent, as claimed in Duveen Pictures in Public Collections of America, New York, 1941: no. 177; see letter of April 1982 from her daughter, the Princess of Hohenlohe-Langenburg, in NGA curatorial files.
[2] Zatzenstein was the founder of the Galerie Matthiesen, Berlin.
[3] The original Duveen Brothers invoice is in Gallery Archives, copy in NGA curatorial files. See also Duveen Brothers Records, Getty Research Institute, Series II, Folder 17 (Copies NGA curatorial files).
Associated Names
1994 Petrus Christus: Renaissance Master of Bruges, The Metropolitan Museum of Art, New York, 1994, no. 17, repro. 2017 Monochrome: Painting in Black and White, National Gallery, London; Museum Kunstpalast, Dusselddorf, 2017-1018.
There are overpainted losses along the three vertical joins of the panel and along several vertical cracks, as well as scattered small overpainted losses along the fine fracture crackle pattern and where abrasion has occurred along the raised edges of cupped paint. The only larger area of loss is in Joseph’s left shoulder. The Virgin’s robe has been almost completely overpainted. The robe may have been overpainted to mask the effect of somewhat more extensive losses along the crackle pattern; such losses are evident in sections of the original robe still visible between strands of the Virgin’s hair. In spite of these small areas of loss and the overpainting of the Virgin’s robe, the paint layers are generally in good condition, as is the support. The varnish has yellowed unevenly and is marked throughout by tiny gray matte spots. Infrared reflectography reveals what appears to be a brush underdrawing for the main figural group. The contours of the figures and of drapery folds are defined by a long contour line which is sometimes repeated. Widely spaced parallel hatching strokes indicate areas of shadow. The wings of the two angels to the left of the Virgin were painted over the underdrawn design of the Virgin’s robe; the presumed underdrawing elsewhere in her robe is obscured by overpaint. No underdrawing was made visible in the background or architecture.
Infrared reflectography reveals what appears to be a brush underdrawing for the main figural group. The contours of the figures and of drapery folds are defined by a long contour line which is sometimes repeated. Widely spaced parallel hatching strokes indicate areas of shadow. The wings of the two angels to the left of the Virgin were painted over the underdrawn design of the Virgin’s robe; the presumed underdrawing elsewhere in her robe is obscured by overpaint. No underdrawing was made visible in the background or architecture.
Bibliography
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