During the mid-16th century, the first formal education schools were founded in Ecuador by the Quito School. These schools combined reading and writing instruction with practicing practical work, and would later incorporate artistic instruction. From this new infrastructure arose the first generation of artists of the New World, mainly indigenous and mestizo, to be formally trained. The resulting artwork serves as one of the richest manifestations of cultural syncretism between Spanish and mestizaje cultures that exists today. The Quito School reached its peak between the 17th and 18th centuries, acquiring great prestige amongst other American colonies, as well as within the Spanish court in Madrid. While initially architectural production was recognized to be the highest form of art, with the construction of churches and temples (followed by sculpture, with representations of sacred figures in volume for the facades and altars) painting soon began to garner respect as the predominant genre. By the 17th century, the first great local masters appeared and became fluent in styles that were prevalent amongst their European contemporaries, among them chiaroscuro. Over time, local painting began to evolve and several quintessential styles of the Quito School emerged.

The Adoration of the Shepherds is one of the favorite subjects of artistic interpretation amongst the Christian themes, both in European and New World painting. In the present depiction, the artist paints the Christ Child in the center of the composition, sitting on the lap of the Virgin Mary. Behind Mary the artist places Joseph, intentionally forming a diagonal between the three figures. The artist adorns the clothing of the Virgin Mary with gold additions to her cloak and dress, as well as on the cloak of Saint Joseph and his halos and radiances, signaling their divinity.

The bright, clear tones of the faces, with rosy blush cheeks, accompanied by their complimentary robes, give these figures a fresh and vibrant appearance to signal the momentous occasion. In this scene, Mary presents Jesus to the visitors, looking at her son with an expression of tenderness while the Child directs his gaze and his hand towards the shepherds. Above them, angels display a banner with the inscription “Gloria in excelsis Deo,” which according to the gospel were the words used by the angels to announce the birth of Jesus to the shepherds.