In the right background is the Annunciation to the Shepherds. The painting was in the past attributed to Velazquez & to Zurbaran, & it has also been thought to be the work of various Neapolitan painters of the early 17th century. It is first recorded ...

Thirteen panels illustrating the life of Christ & comparable in size & style are known. They mainly depict incidents from the Life & Passion of Christ. It has been suggested that these works, probably with some others which are now lost, came from a ...

Painted in 1496 for the church of San Francesco in Città di Castello. Joseph is seated to the right while the shepherds kneel or prepare to kneel to the left; in the distance the angel is seen announcing Christ's birth. Within the portico is a scene representing the decree of taxation by the Emperor Augustus which had prompted Joseph & Mary to journey to Bethlehem. ...

The young Saint John the Baptist is included at the left & the Annunciation to the shepherds can be seen in the centre background. The journey of the Magi is depicted in the right background. This is one of three similar pictures of the same subject which appear to be by the same hand (the other two are in the United States, one in the Nelson Atkins Museum, Kansas City). It was formerly attributed to Savoldo. ...

In the background, an angel announces Christ’s birth to the shepherds. In the foreground, the same shepherds join the Virgin in worshipping the new-born Child. The ox & ass are stabled behind the manger. This painting originally formed the left-hand side of a diptych, bound in violet velvet with The Dead Christ at the right. ...

In front of classical ruins (symbolic of the old order, now superseded by Christianity) the shepherds, represented by the bare-footed old peasant kneeling prominently to the left with the ox & two boys behind, adore the Christ Child. The treatment of the Virgin & Saint Joseph, & of the ass silhouetted against the wall to the right, may have been influenced by the work of Orazio Gentileschi, a follower of Caravaggio who had worked in Paris. The mood in the painting is one of unusual calm & stillness, focused upon the Christ Child lying on the straw. Like a number of other paintings by the Le Nain brothers this one is painted over another composition. The head of the Virgin Mary in the earlier composition can be made out between those of Joseph & the boy shepherd. ...

Saint Joseph stands behind the Virgin who kneels by the Christ Child. The ox & ass are in the stall behind the manger. New Testament (Luke 2: 15-16). The composition derives from Rembrandt's versions of the subject, notably those of 1646 in Munich (Alte Pinakothek) & in the National Gallery. Barent was the younger brother of the painter Carel Fabritius, who had been one of Rembrandt's most talented pupils & who was prematurely killed in the explosion of the municipal gunpowder magazine in Delft in 1654. The Gallery owns two works by Carel: 'A View of Delft, with a Musical Instrument Seller's Stall' & 'A Young Man in a Fur Cap & a Cuirass (Self Portrait?)'. Barent mostly painted religious history scenes, genre subjects & portraits. ...

This panel is usually said to have been part of a predella of an altarpiece, but it may have formed a single panel, possibly below an altarpiece. Although evidently painted very quickly, as was commonly the case with Signorelli, some of the forms
- notably the cloak of Saint Joseph
- have great monumentality.

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The Virgin lifts a white cloth to reveal the Christ Child to the kneeling shepherds who have come to adore him. This painting derives from a design by Jacopo Bassano (died 1592), known in several versions (the best is probably one in the Galleria Nazionale, Rome). Jacopo's sons & their assistants produced many derivations of his compositions, such as this painting. ...

Shepherds come to adore the Child Jesus lying in a manger. The inscription on the scroll refers to the words of the angels who appeared to the shepherds, singing the Lord's praises. (Luke 2: 8-17). This painting, which was previously attributed to Scarsellino (about 1550
- 1620), was probably painted in Northern Italy, perhaps in Ferrara. The orbit of Donducci (Il Mastelletta, 1575
- 1655) has also been suggested. It was probably painted quite early in the 17th century.

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