Who painted Meeting of Solomon and the Queen of Sheba?

Meeting of Solomon and the Queen of Sheba was painted by Apollonio di Giovanni in 1464.

Where can I see Meeting of Solomon and the Queen of Sheba?

Meeting of Solomon and the Queen of Sheba is held by Museum of Fine Arts Boston.

What movement is Meeting of Solomon and the Queen of Sheba?

Meeting of Solomon and the Queen of Sheba is associated with Early Renaissance.

Artwork

Meeting of Solomon and the Queen of Sheba

Apollonio di Giovanni , 1464

Meeting of Solomon and the Queen of Sheba is an unspecified painting by the Early Renaissance artist Apollonio di Giovanni. It dates from 1464 and is held in the collection of the Museum of Fine Arts Boston.

About this work

Overview

Apollonio di Giovanni’s 1464 panel, titled *Meeting of Solomon and the Queen of Sheba*, is part of the collection at the Museum of Fine Arts in Boston. The work portrays a formal encounter between the biblical monarch Solomon and the visiting queen, set within an architecturally defined interior that includes arches, columns, and a somber sky.

Subject & Meaning

The composition illustrates the legendary diplomatic exchange described in biblical and medieval sources, where the Queen of Sheba arrives to test Solomon’s wisdom and wealth. Solomon is positioned on an elevated dais, surrounded by courtiers and guards, emphasizing his authority, while the queen approaches with deference, highlighting themes of curiosity, respect, and the exchange of knowledge.

Technique & Style

Executed in tempera on panel, the painting employs a rich palette of gold, deep blues, and vivid reds to model space and texture. The figures are rendered in sumptuous garments adorned with intricate patterns, and the meticulous rendering of architectural elements and ornamental details reflects the artist’s careful hand and the decorative sensibilities of mid‑15th‑century Florentine workshops.

History & Provenance

Created in 1464, the work remained in private collections before entering the Museum of Fine Arts, Boston, where it is displayed as part of the museum’s European paintings holdings. Its attribution to Apollonio di Giovanni, a Florentine painter active in the mid‑1400s, is supported by stylistic analysis and documentary evidence linking the piece to his workshop.