The Nativity 1490

Editor: So, here we have Jean Hey’s oil painting, “The Nativity,” created around 1490. There's such a stillness to it, almost like a tableau vivant, but also so much symbolism crammed into one space. How do you interpret this work, particularly in its use of imagery? Curator: The symbols tell a layered story. Note the shepherds in the background – representatives of the humble who were first to hear of Christ's birth. And then the figure in the red robe and small dog – he represents the patron who commissioned the artwork. Editor: Right, I see that. It is interesting how the patron is inside the Nativity, becoming an intimate spectator of the Holy scene. Curator: Consider also the ox and the ass, ancient symbols present even in the earliest depictions of the Nativity, signifying perhaps both Jewish and Gentile audiences coming to the newborn king. The color palette evokes a mood of serenity, highlighting the sacredness of the event. Does the color evoke some thoughts or feeling to you? Editor: I am struck by the contrasting deep blues and vibrant reds - such rich, bold color, giving the artwork a formal sense, but I am more drawn to the softness in the faces of Mary, Joseph and the shepherds in the background. I did not even see the ox and ass initially. I was too taken by the humans portrayed. Curator: Exactly. It is through such interplay that Jean Hey conveys the humanity within divinity. These recurring motifs are part of our shared visual language. And how do they inform our understanding across cultures? Editor: This conversation really opened my eyes to the subtle power of symbols within the larger narrative of a piece. It makes the image speak across time. Curator: Indeed. It also reminds us of the endurance of human stories – births, faith, patronage, hopes – told and retold through the timeless language of images.