Who painted The Adoration of the Shepherds?

The Adoration of the Shepherds was painted by Pietro Perugino in 1517.

Where can I see The Adoration of the Shepherds?

The Adoration of the Shepherds is held by National Gallery of Art.

What movement is The Adoration of the Shepherds?

The Adoration of the Shepherds is associated with Renaissance.

Can I buy a print of The Adoration of the Shepherds?

Museum-quality prints of The Adoration of the Shepherds are available made-to-order from Artifact World Gallery.

Artwork

The Adoration of the Shepherds

Pietro Perugino , 1517

The Adoration of the Shepherds is a chalk drawing by the Renaissance artist Pietro Perugino. It dates from 1517 and is held in the collection of the National Gallery of Art.

About this work

Overview

6 centimeters, the work depicts the nativity scene and is executed with delicate linework and subtle washes.

The Adoration of the Shepherds is a pen and brown ink drawing over black chalk on laid paper by the Italian Renaissance artist Pietro Perugino, created circa 1517. Measuring 13.3 by 21.6 centimeters, the work depicts the nativity scene and is executed with delicate linework and subtle washes. It is currently held in the National Gallery of Art in Washington, D.C., where it is accessioned under the number 2003.14.1. The drawing is significant both as an example of Perugino's late graphic technique and as an artifact reflecting the operational practices of a high-Renaissance workshop.

Subject & Meaning

The drawing portrays the traditional Christian nativity scene, focusing on the adoration of the Christ Child by shepherds. At the center of the composition, a nude infant sits on the ground emitting radiating lines, flanked by two kneeling figures in draped garments with halos. To the left, a bearded man with a staff kneels beside a standing woman with clasped hands, representing Joseph and the Virgin Mary. Two winged angels hover above the central group with hands folded in prayer. To the right, another kneeling figure with a staff faces the center, accompanied by a reclining dog in the lower right corner and an ox and donkey behind, completing the traditional manger assembly.

Technique & Style

Perugino executed the drawing using pen and brown ink over a black chalk underdrawing on laid paper. The texture of the aged, off-white paper adds depth to the composition, influencing how the ink settles into the page. The linework is delicate and fluid, employing hatching to create shadows and volume across the shallow, open landscape. The palette is limited to brown ink tones with subtle washes, resulting in a sketch-like and exploratory finish. A small number, 15, appears at the bottom center of the sheet. The work is unsigned.

History & Provenance

Created around 1517, the drawing passed through the art market before entering a public collection. It was sold at Sotheby's in London on July 10, 2002, as lot 92. Following the sale, it passed through the London gallery Hazlitt, Gooden and Fox. The National Gallery of Art in Washington, D.C. purchased the work in 2002, later assigning it the accession number 2003.14.1. It has been exhibited publicly, including in the 2004 to 2005 exhibition Six Centuries of Prints and Drawings: Recent Acquisitions at the National Gallery of Art, and again in 2020 in Raphael and His Circle: Prints and Drawings from the National Gallery of Art.

Context

The creation of this drawing coincided with Perugino's operation of a large and productive workshop. The choice of pen, ink, and paper, materials that enable reproducibility and widespread circulation, reflects the broader economic vision of his enterprise. Drawings like this were likely produced in great numbers for distribution among shop members. This practice allowed Perugino to streamline processes, increase the division of labor, prototype ideas quickly, and maintain a uniformity of style across the many paintings his workshop produced. The simplicity of the materials thus belies the sophisticated business and creative practices condensed into the object.