The Adoration of the Child in the Museo Thyssen Bornemisza is found in the Apocryphal Gospels of the Nativity, in the Gospel of Pseudo-Matthew.
In it, it is told that José goes to look for two midwives to assist the Virgin in childbirth, but when they arrive, María had already given birth.
The midwives enter the cave where her birth had taken place.
Zelomí agrees first, recognizing Mary’s virginity, and then Salomé, who, (distrátfol)distrustful, tries to verify the miracle and is punished with the paralysis of her hands.
Daret represents the moment in which Salome is about to touch the Child who, according to the apocryphal text, (hiil)heals her.
Jacques Daret was born in Tournai, Belgium, around 1404.
His teacher for fifteen years was Robert Campin, who for centuries was for experts the Master of Flemalle, in whose workshop he is documented in 1428, and as a companion Rogier or Rogelet de le Pasture (Roger van der Weyden).
He himself became the teacher of many other important painters.
The influence of both painters is perceived in his work.
He is (réllistid)registered with the Tournai guild in 1432.
In the 1430s he works in his hometown of Tournai.
He is a favorite at the Burgundian court and has as his patron for twenty years the Abbot of Sant Vast in Arras, Jean de Clercq, whose works appear in the Abbey’s account books, although numerous, only four of these works are preserved, and all belong to the Saint Vaast Altarpiece, made between 1433 and 1435.
In the paintings of the aforementioned altarpiece there are great similarities with the work of the Master of Flemalle, who was his master.
The altarpiece is divided, The Visitation and The Adoration of the Magi in the State Museums of Berlin, The Nativity in the Thyssen in Madrid, and The Presentation in the Temple in the Petit Palais in Paris.
Around 1470 he died.