{'ObjectID' : '793', 'ObjectCode' : 'N-3556-00', 'ObjectNumber' : 'NG3556', 'ObjectDateBegin' : '1564-01-01', 'ObjectDateEnd' : '1564-12-31', 'ObjectDisplayDate' : '1564', 'ObjectDimensions' : '111.1 x 83.2 cm', 'ObjectMedium' : 'Oil on oak', 'ObjectAlphaSort' : 'Bruegel, Pieter the Elder', 'ObjectAuthor' : 'Pieter Bruegel the Elder, active 1550/1; died 1569', 'ObjectTitle' : 'The Adoration of the Kings', 'ObjectShortTitle' : 'The Adoration of the Kings', 'ObjectCreditLine' : 'Bought with contributions from The Art Fund and Arthur Serena through The Art Fund, 1920', 'ObjectString' : 'NG3556: Pieter Bruegel the Elder, active 1550/1; died 1569, The Adoration of the Kings, 1564, Oil on oak, (111.1 x 83.2 cm), Bought with contributions from The Art Fund and Arthur Serena through The Art Fund, 1920.', 'ObjectLocation' : 'Room 14', 'ObjectPrivateLocation' : 'Gallery 14', 'ObjectPublicLocation' : 'Room 14', 'ObjectSchool' : 'Netherlandish', 'ObjectCurator' : 'Susan Foister', 'ObjectDescription' : 'Signed and dated: BRVEGEL M. D. LXIIII. (1564).
Balthazar, the Moorish king, stands on the right. Caspar kneels at the lower left. A figure at the right is wearing spectacles; on other occasions the artist used these to signify in an ironic manner the inability of the subject to see the truth - such may be the intention here. Most of the figures appear to be caricatures who are gently mocked by the artist.
The upright format and large scale of the figures are unusual for Bruegel; aspects of their depiction appear to have been influenced by the work of Bosch.
The thin paint in a number of areas reveals underdrawing beneath.
Probably in the Imperial collection at Vienna, about 1619; bought from Guido Arnot with contributions from the NACF and Arthur Serena through the NACF, 1920.
Davies 1968, pp. 21-2', 'ObjectStatusID' : '1', 'PublicAccess' : '1', 'GroupNumber' : '', 'GroupTitle' : '', 'GroupArtist' : '', 'GroupDate' : '', 'GroupParts' : '', 'ImageID' : '810', 'ImageFile' : 'N-3556-00-000057-WZ-PYR.tif', 'ImageCode' : 'N-3556-00-000057-WZ', 'ImagePath' : '/pics/tmp/websiteimages/Website_Collection_Online/Web Zoom Images/WZ web NG Fronts/', 'ImageLevels' : '6', 'ImageXsize' : '4518', 'ImageYsize' : '6000', 'FileGroup_ID' : '14', 'impos' : '264'} /* Array ( [0] => 
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SELECT * FROM Object, Image WHERE Object.ObjectID = Image.ObjectID AND ImageID = '810'

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264 --> 810 N-3556-00 Pieter Bruegel the Elder, active 1550/1; died 1569
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    [ObjectID] => 793
    [ObjectCode] => N-3556-00
    [ObjectNumber] => NG3556
    [ObjectDateBegin] => 1564-01-01
    [ObjectDateEnd] => 1564-12-31
    [ObjectDisplayDate] => 1564
    [ObjectDimensions] => 111.1 x 83.2 cm
    [ObjectMedium] => Oil on oak
    [ObjectAlphaSort] => Bruegel, Pieter the Elder
    [ObjectAuthor] => Pieter Bruegel the Elder, active 1550/1; died 1569
    [ObjectTitle] => The Adoration of the Kings
    [ObjectShortTitle] => The Adoration of the Kings
    [ObjectCreditLine] => Bought with contributions from The Art Fund and Arthur Serena through The Art Fund, 1920
    [ObjectString] => NG3556: Pieter Bruegel the Elder, active 1550/1; died 1569, The Adoration of the Kings, 1564, Oil on oak, (111.1 x 83.2 cm), Bought with contributions from The Art Fund and Arthur Serena through The Art Fund, 1920.
    [ObjectLocation] => Room 14
    [ObjectPrivateLocation] => Gallery 14
    [ObjectPublicLocation] => Room 14
    [ObjectSchool] => Netherlandish
    [ObjectCurator] => Susan Foister
    [ObjectDescription] => Signed and dated: BRVEGEL M. D. LXIIII. (1564).
Balthazar, the Moorish king, stands on the right. Caspar kneels at the lower left. A figure at the right is wearing spectacles; on other occasions the artist used these to signify in an ironic manner the inability of the subject to see the truth - such may be the intention here. Most of the figures appear to be caricatures who are gently mocked by the artist.
The upright format and large scale of the figures are unusual for Bruegel; aspects of their depiction appear to have been influenced by the work of Bosch.
The thin paint in a number of areas reveals underdrawing beneath.
Probably in the Imperial collection at Vienna, about 1619; bought from Guido Arnot with contributions from the NACF and Arthur Serena through the NACF, 1920.
Davies 1968, pp. 21-2
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    [ImageID] => 810
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