The Holy Family with Shepherds

Painted in 1616, this devotional work is documented as Jacob Jordaens’s earliest known treatment of the Adoration of the Shepherds. It entered the market via Auguste du Blaisel and passed through John Wanamaker before reaching New York dealer Mortimer Brandt. By 1920 it was with Charles Sedelmeyer, whose collection was later dispersed to Adelaide Milton de Groot and then Maria Matilda Bingham, who donated it to The Metropolitan Museum of Art where it remains.

Jacob Jordaens's 1616 oil painting, The Holy Family with Shepherds, is held in the collection of the Metropolitan Museum of Art. The work's provenance includes ownership by Auguste du Blaisel, Maria Matilda Bingham, Charles Sedelmeyer, John Wanamaker, Mortimer Brandt, and Adelaide Milton de Groot before entering the museum's holdings. While the artwork is associated with the Charles Sedelmeyer collection, specific inventory or accession numbers are not provided in the available records.

Furthermore, although the piece is part of a major public institution, no specific exhibition history or loan records are detailed in the current sources.

Jacob Jordaens’ The Holy Family with Shepherds (1616) emerged as a touchstone for later Flemish and Dutch religious painting, particularly in its dynamic composition and earthy naturalism. While not as widely replicated as Rubens’ sacred works, the painting’s intimate depiction of the Holy Family amid shepherds influenced later Baroque treatments of the Adoration theme, notably in Northern European devotional art. Its provenance, passing through collectors such as Charles Sedelmeyer and John Wanamaker, reflects its esteem among nineteenth- and early twentieth-century connoisseurs.

Today, its inclusion in the Metropolitan Museum of Art’s permanent collection ensures its visibility as a key example of Jordaens’ early style, though its legacy remains overshadowed by his more monumental works.

This oil painting, titled The Holy Family with Shepherds, presents an intimate depiction of a sacred gathering. At its core, a woman gently holds a naked infant, while an older man illuminates the scene with a candle. Three additional figures are closely gathered around them, observing the central interaction.

The artist employs a distinctive lighting technique to draw attention to the figures' faces and emotional states, making them stand out against a muted background.