First, take a look at the bottom left-hand corner of the painting. On the stone are the letters AB and the year 1527. This enables us to determine the date and the painter of this panel: Ambrosius Benson, who along with Jan Provoost, is one of Bruges’ most important painters from the first half of the 16th century. The North Italian Benson settled in Bruges in 1518 and a year later became an independent master with his own studio.
Benson worked for both the city authorities and the open market. A painting like this, which depicts a much-loved theme, could be repeated multiple times. We see Joseph, Mary, the baby Jesus and his slightly older nephew John, who announced Jesus’ coming.
Look at Mary’s face, which Benson painted in a shrouded, sfumato style. We are familiar with this from his famous predecessor, Leonardo da Vinci, amongst others. Benson came from Lombardy, where Leonardo also lived and worked for most of his life… The dark shadowy zones, the southern colours, the baby Jesus, the almost sculptural modelling of the figures, not to mention the composition, are all strikingly Italian.
Let us return to the stone in the bottom left-hand corner. There are only two paintings by Ambrosius Benson that bear the monogram AB, of which this is one. This work is therefore of vital importance to art historians, as it allows them to pinpoint the dating of his entire oeuvre and that of his studio.