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This heroic full-length portrait presents the king under a red-and-gold curtain with a landscape in the background. He wears a crown and, under a blue tunic, armor. His right hand rests on the head of [+]
In this representation of Saint John of Capistrano, the painter has faithfully followed his traditional iconography. Dressed in a Franciscan habit with a red cross on it, he stands beneath a shining s [+]
While traditionally considered anonymous, this work has been linked to Alonso del Arco by Natividad Galindo, who pointed out its evident relation to the work of Pereda. Certain elements, such as the w [+]
Compositionally, this work can be considered parallel to Saint John of Capistrano (P5350), as both are large likenesses of Saints, both hold the Crucifix in the same way, and both have a small-scale r [+]
Born to an Austrian Catholic family, Juan Everardo Nithard (Falkenstein, 1607-Rome, 1681)became a Jesuit. His solid grounding in theology led Emperor Ferdinand III to appoint him confessor to his chil [+]
This is one of a series of four canvases mentioned by Ponz as having been sent to the Museo de la Trinidad (1800, I, fourth letter, paragraph 10): "The Convent of Saint Catherine, which is of the Shod [+]
Drawn from the Apocalypse of Saint john, The Immaculate Conception is a frequent iconic subject in Spanish painting. In Madrid, especially during the second half of the 17th century, it was so frequen [+]
