In this Christmas night, Cornelis de Vos has very wisely let all the light radiate from the figure of the new-born Messiah; it is the divine light that shines in the darkness of the nations.
(freely translated from the writing of Jacob van der Sanden in 1781).

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In the ‘Nativity‘, the third scene in the cycle, you can see how Cornelis De Vos uses his colour brushes to play with light and shadow.

We have already met this master in the Museum Mayer van den Bergh, especially with his children’s portraits; these and other Birth-scenes,-can also be interpreted as a family event.

A proud mother Mary lifts the diapers, to show the child to the shepherds; Joseph stands in the shadow of his wife and focuses his attention on the angels, as if he is the only one who sees them. Mary’s counterpart or complement is another young woman, with a milk jug on her head. Her apron and sleeves have a white shine; her blonde hair is hanging loosely, both arms are stretched in opposite directions; a soft glow makes the brass light up.

The ultimate source of light is the newborn child. It shines on the colourful tunics and the garments of the worshipping shepherds and it casts warmth on the faces of both young and old, with

“Opregte blijdschap op de aenzigten”; ((honest joy on the face)

Apparently the most refined face is that of the boy with the pastoral stick over his shoulder ; that de Vos knew how to paint children, it is again proven here.

Colours don’t only serve as a feast for the eyes or an interplay of contrasts ; the precious ultramarine blue of Mary’s robe envelops her white veil and fair complexion, symbolizing her purity. The depiction of the lamb as a gift is already a prelude to the Paschal Mystery.

Compare this scene further on with the ‘Adoration of the Shepherds‘ by Rubens.

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