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Both the royal inventories and Stchavinsky (1912) identify this scene as the story of Hecuba, wife of Priam of Troy. Wichmann (1923) disagrees, believing it to be the Finding of the bodies of Hero and Leander, an interpretation supported by Valdivieso (1973), Pigler (1974), Salerno (1977-80) and Sluijter (1986). Luna (1984), however, has called attention to the inscription HECVBA / OVIDIVS./ LIB.
The young Christ is shown seated among the priests of the Temple who are listening to him attentively and with astonishment (Luke 2: 41-50). This is one of Bramer’s characteristic interiors, painted with pronounced chiaroscuro, in which the influence of Caravaggio and Adam Elsheimer is evident. During the years he lived in Rome Bramer was known as “Leonardo della Notte” due to his preference for s
The date of this painting has been the subject of critical debate for over a century. The 1889 edition of the Prado catalogue states that it was signed but fails to mention a date. The 1910 version describes it as being signed and dated in 1620. The question is not addressed in subsequent publications until that of 1985, which refers to it as being signed and dated in 1630, the year that is again
Esta obra presenta dibujos en las dos caras. Se muestra en el anverso en tinta parda con finos toques de albayalde El regreso del hijo pródigo y en el reverso la historia del buen samaritano, otra parábola de Jesús representada en dos episodios separados por una gruesa línea negra. Curiosamente el artista ha alterado la secuencia temporal de la historia, de tal manera que aparece en primer lugar (
