Christmas, an iconic Christian celebration, has inspired artists throughout the ages, giving rise to a rich iconography that reflects the evolution of artistic styles, religious sensibilities, and sociocultural contexts.
Let’s journey through the representations of Christmas, from the earliest images of the Nativity to contemporary interpretations.
“The Adoration in the Forest” (1459) by Filippo Lippi
(1406-1469)
A Florentine painter born in Florence and died in Spoleto, he belonged to the Early Renaissance and followed in the footsteps of Masaccio.
Filippo Lippi, or Fra Filippo Lippi, entered the religious order against his will, his true calling being painting.
Consequently, he was considered in his time a scandalous monk who did not respect his vows, particularly that of chastity.
An orphan, he was taken in at a very young age by the monks of the Carmelite convent in Florence.
Destined for the priesthood, he took his vows at the age of 15.
Around the age of 25, he left the convent to go to Padua, then returned to Florence without rejoining the convent, leading a life that allowed him to use his exceptional talent for painting. This secular life afforded him the opportunity to associate with women, which inevitably caused a scandal at the time.
He entered the service of the Medici family in 1438 and obtained a position as chaplain at the convent of Santa Margherita del Prato.
There he met a young nun, Lucrezia Buti, who would serve as his model for his frescoes, and he fell madly in love with her.
Having discovered that she was pregnant, he eloped with her, and a scandal erupted.
Thanks to the intervention of his patron, Cosimo de’ Medici, he obtained a papal pardon, which released the two lovers from their vows.
Lippi was a pupil of Lorenzo Monaco in Florence and was strongly influenced by him. Later, thanks to Fra Angelico, he found his own style and developed a more delicate and luminous approach to painting. His sublime Madonnas have left their mark on the history of art. He was the teacher of Sandro Botticelli, to whom he passed on the subtle polychromy of his works and the supreme elegance of his figures.
Lippi greatly influenced Botticelli and foreshadowed. Leonardo da Vinci.
Arthur Hughes (1832-1915), “The Nativity” (1892).
Birmingham Museum
Giotto di Bodone, Nativity of Jesus (1303-1305). Fresco, 200 x 185 cm. Padua, Scrovegni Chapel.
One of the most popular nativity scenes in the history of art is undoubtedly Giotto’s Nativity, part of the cycle of frescoes depicting the Stories of Jesus that decorate the Scrovegni Chapel in Padua, Italy.
Indeed, this work, which became a point of reference for artists of subsequent generations, succeeded in renewing one of the most traditional iconographies of Christian art through unprecedented simplicity and humanity. Humanity emanates both from the face of Mary, who gazes at her son with love, and from the adoring attitude of the animals toward the newborn. To these sentiments are added the astonishment of the shepherds, the joy of the angels, and the meditative serenity of Joseph.
All these figures are characterized by a refined and measured beauty and regular features, reminiscent of the classical world. Giotto’s masterpiece, however, is innovative not only for its revival of ancient art and its desire to humanize the sacred event, but also for its spatial and perspective exploration and the plasticity of its figures.
Regarding the description of the work, the Nativity takes place in a rocky setting, where the hut containing Mary, Jesus, and a woman—a new character introduced into the narrative—emerges prominently. This woman helps the Virgin with her newborn child. As for the other figures, Joseph is depicted away from his family, in the lower part of the fresco, to emphasize his subordination to Christ’s divine Father. The ox and the donkey are on the left of the painting, while on the right are the two shepherds in conversation with an angel who informs them of the happy event. Finally, hovering above the hut, four angels pray.
“Mystical Nativity” by Sandro Botticelli (1445-1501),
oil on canvas, 108.5 x 74.9 cm
Sacred art, Early Renaissance movement. National Gallery, London
“The Nativity at Night” by Geertgen tot Sint Jans (1490).
This painting by the Dutch Early Netherlandish painter is housed in the National Gallery, London. This painting on a wooden panel depicts the birth of Jesus with a certain magic. The lighting is stunning, and the hill in the background adds to the painting’s already mysterious atmosphere.
Peter Paul Rubens, “The Adoration of the Magi” (1609/1628-1629). Oil on canvas, 355 x 493 cm. Prado Museum, Madrid.
The Adoration of the Magi was one of Peter Paul Rubens’ favorite subjects, and he painted ten to fifteen canvases on this theme. This version was commissioned in 1609 by the city of Antwerp, upon his return from a stay in Italy. Three years later, the work was presented to the Spanish ambassador before being reclaimed by the Crown in 1621. It was finally during a trip to Madrid, to see King Philip IV of Spain, that Rubens reworked the painting.
This vibrant painting is composed around a diagonal that directs all eyes toward the Christ Child. This last figure, in fact, concentrates all the light in the painting, which presents a chiaroscuro effect inherited from Caravaggio, with a multitude of colorful figures in varied poses. As Jesus grasps, like a consecrated host, one of the gold coins offered as a gift, the Magi surround him, accompanied by their page-children and slaves—reminiscent of Michelangelo’s famous sculptures.
In 1628–1629, Pieter Paul Rubens enlarged the painting by adding a celestial register with angels—in accordance with the principles of the Counter-Reformation—as well as a vertical band on the right where the artist depicts himself, from behind and on horseback, contemplating the scene, or perhaps even his own bustling work.
Gentile da Fabriano, “The Adoration of the Magi” (1423). Tempera, gold, and silver on wood, 300 x 282 cm. Uffizi Gallery, Florence.
This large altarpiece teems with sumptuous decorative details and seems to shimmer thanks to the gold and silver highlights that adorn not only the halos and costumes of the figures, but also the horses’ harnesses! The Adoration of the Magi was commissioned from Gentile da Fabriano by a wealthy Florentine banker, Palla Strozzi, for his family chapel in the Basilica of Santa Trinità.
The work illustrates the episode recounted in the Gospel of Matthew, in which “Magi from the East” wished to worship the newborn King of the Jews. Having found their way by means of a star, they offered gold, frankincense, and myrrh.
The opulent iconography of the Adoration of the Magi serves both the biblical narrative and the material wealth of the patron, depicted behind the Magi holding a falcon. The artist, Gentile Da Fabriano, also appears beside him, his gaze directed at the viewer. The painter was highly sought after at the time for his refined and delicate style, the meticulousness of his colored details, and the preciousness of his materials. This painting, now considered a masterpiece of International Gothic, is a must-have during the Christmas season.
“Nativity”, mosaic from the Palatine Chapel, Palermo, 12th century
“Nativity” (1380) by Antonio Veneziano.
Lorenzo Lotto, “The Nativity” (1523), oil on panel, 46 x 35.9 cm, National Gallery, Washington
Domenico Ghirlandaio, “Nativité et adoration des bergers” (1485). Tempera sur panneau, 167 x 167. Florence : Basilique de Santa Trinita.
“The Nativity” by Fra Angelico in the San Marco Museum in Florence. It houses under its arcades frescoes by Guido di Pietro, called Fra Giovanni in religion, but better known as Fra Angelico.
Pieter Paul Rubens, “The Adoration of the Shepherds”, 1608. Oil on canvas, 300×192 cm.
“Christmas Night,” Paul Gauguin (1902-1903).
In this snowy Breton landscape, Paul Gauguin alludes to elements from other lands. He imagines, in a way, the Christmas of his dreams; indeed, it would be the last Christmas of his life, as he passed away a few months later, on May 8, 1903.
In this painting, the two women wear traditional Breton headdresses, but surprisingly, their features recall the Polynesian subjects so dear to Gauguin. The painter references different cultures: for example, the depiction of the two oxen evokes motifs from ancient Egypt, and the two figures on the right resemble icons from the Pacific Islands. A moving painting that celebrates Christmas and reveals the full genius of Paul Gauguin.
Gustave Doré, “Christmas Night”, black ink and gouache, undated, 75 x 51.5 cm, Paris. ©Musée d’Orsay
“Christmas Night,” Henri Matisse, 1952.
Here is a work in a more contemporary and abstract style, “Christmas Night” by the great Henri Matisse. The artist created this stained-glass window project in the last years of his life. This work, which began as a collage, was reproduced on glass and as lithographs.
“Nativity” (1940) by Irish painter Mainie Jellett, (1897-1944)
“Nativity”, a beautiful composition by Dali created in 1947.
“Christmas Musicians”, Fra Angelico (1400-1455), Italian painter of the early Renaissance. Nickname: the painter of angels
Carl Larsson (Swedish, 1853-1919), “Julgranskonfekt” (Decorating the Tree), 1917, pen, ink and watercolor on paper, 73 x 65.5 cm. Private collection
Kees Sherer, “Christmas”, Holland (1960).
There are places where nothing is but music, surrender, the passing of wings, the barefoot beach of memory.
There are places that fill the heart like a melody, that possess the warm fullness of sobs, that pre-dawn glow in a childhood summer, that commonplace mystery of a bird suddenly letting itself be approached…
There are places where even silence sings.
Louis Aragon
Rudolf Bernhard Willmann (German, 1868-1919). “Christmas Tree Decorated with Lights”.
Oil on cardboard, 48 x 32 cm. Private collection.
Pavel Fedorovich Shardakov, “Decorating the Christmas tree”, 1948.
Mela Koehler (Austrian, 1885–1960), “Woman Decorating a Christmas Tree”, 1912
Vintage postcard: color lithograph on card stock, 14 x 8.9 cm
Museum of Fine Arts, Boston
“Christmas Morning”, Henry Mosler, 1916
In this painting bathed in warm light, the American painter Henry Mosler depicted one of the most anticipated moments of the year for children: Christmas morning. These two little ones are already eager to discover what Santa Claus has brought them—a magnificent scene!
Victor McLindon (United Kingdom).
The snow is white as salt,
the snow is cold, the night is black
but for children it is spring:
just for them, at the foot of their bed
a little tree has blossomed. […] »
Gianni Rodari
Norman Rockwell, “Discovery”, 1956
American illustrator Norman Rockwell is known for capturing everyday life in postwar America, creating the covers for the Saturday Evening Post magazine for 50 years. In this cover, published in December 1956, he presents Santa Claus in an unexpected way. He chooses to primarily symbolize his… fictional nature! This scene of “discovering” the truth about the famous red and white figure beloved by children is all the more touching because Rockwell perfectly captures the boy’s astonishment.
“Children by the Christmas Tree,” Leopold von Kalckreuth, early 20th century. The artist captured a moment of prayer by four children near the fir tree, facing lit candles. A solemn moment that reminds us that Christmas is a religious holiday.
“Christmas Diva” (2014) for Dark Beauty Magazine by German-based fashion and beauty, conceptual and advertising photographer Lyonel Stief.
“I Caught My Mother Kissing Santa Claus” by Joseph Christian Leyendecker (American, 1874-1951). Cover of the American Weekly, December 19, 1948.
“Christmas Morning” (1894), by Carl Larsson
Victor Nizovtsev, contemporary painter.
Dali, “Christmas Card” (1946)
Eyvind Earle (American, 1916-2000), “Central Park, with Santa Claus in a Sleigh”.
Christmas card for the Metropolitan Museum of Art, New York.