Adoration of the Kings, after van Loon

Meyer employed visible brushwork and a rich palette of blues, reds, and golds to convey texture and depth, diverging from the fine detail typical of his miniatures. The dark background isolates the figures, heightening their emotional presence. Trees in the distance suggest a landscape setting without overwhelming the composition. The handling of paint is more tactile than refined, indicating a deliberate shift in technique suited to the scale and devotional intent of the subject.

The painting entered the Fitzwilliam Museum’s collection as part of its broader acquisition of 18th-century British works. Its origin as a copy after van Loon reflects a common practice among artists of the period who studied and reinterpreted established compositions. Meyer’s authorship is documented through museum records and his known activity at the Royal Academy, though the original van Loon source remains unidentified in public archives.

In late 18th-century Britain, religious subjects were frequently adapted for private devotion and institutional display. Meyer’s transition from miniature portraiture to this larger devotional work aligns with broader trends among Royal Academy artists who sought to engage with historical and sacred themes. The painting’s scale and subject matter suggest it may have been intended for a private chapel or collector’s cabinet rather than public worship.

While Meyer is remembered chiefly for his miniature portraits, this work illustrates his willingness to explore broader artistic traditions. It stands as a rare example of his engagement with narrative painting and demonstrates how academic artists of the period navigated between commercial demands and religious iconography. The painting contributes to understanding the diversity of practice within early Royal Academy circles.