Loading...
This panel is part of the altarpiece or seasonal altar of the Guisando Nativity (P00683–P00690). This is a structure frequently found in numerous Spanish monastic cloisters. It comes precisely from the Hieronymite monastery of Guisando (Ávila), as cited by Ponz in 1773. In the cloister, the altarpiece was set into a wall and formed a sort of box. The doors of the altarpiece depict The Visit
This panel is part of the altarpiece or seasonal altar of the Guisando Nativity (P00683–P00690). This is a structure frequently found in numerous Spanish monastic cloisters. It comes precisely from the Hieronymite monastery of Guisando (Ávila), as cited by Ponz in 1773. In the cloister, the altarpiece was set into a wall and formed a sort of box. The doors of the altarpiece depict The Visit
This panel is part of the altarpiece or seasonal altar of the Guisando Nativity (P00683–P00690). This is a structure frequently found in numerous Spanish monastic cloisters. It comes precisely from the Hieronymite monastery of Guisando (Ávila), as cited by Ponz in 1773. In the cloister, the altarpiece was set into a wall and formed a sort of box. The doors of the altarpiece depict The Visit
This panel is part of the altarpiece or seasonal altar of the Guisando Nativity (P00683–P00690). This is a structure frequently found in numerous Spanish monastic cloisters. It comes precisely from the Hieronymite monastery of Guisando (Ávila), as cited by Ponz in 1773. In the cloister, the altarpiece was set into a wall and formed a sort of box. The doors of the altarpiece depict The Visit
This panel depicts a passage from the Gospel of Saint Luke (2, 26) in which Simeon blesses the Christ Child when he is presented in the temple. It is part of the altarpiece or seasonal altar of the Guisando Nativity (P00683–P00690). This is a structure frequently found in numerous Spanish monastic cloisters. It comes precisely from the Hieronymite monastery of Guisando (Ávila), which was ci
This panel depicts the moment prior to Christ’s capture and the start of his Passion. After the last supper with his disciples, Christ departs in the company of Peter, James and John. While he prays in anguish they fall asleep, emphasising his isolation. It is part of the altarpiece or seasonal altar of the Guisando Nativity (P00683–P00690). This is a structure frequently found in numerous Spanish
This panel depicts the meeting between Mary and her cousin Saint Elizabeth, both of them pregnant, the former with Christ and the latter with Saint John the Baptist. Saint Elizabeth is kneeling while in the background by the door of the house Zacharias acknowledges Mary’s arrival. It is part of the altarpiece or seasonal altar of the Guisando Nativity (P00683–P00690). This is a structure frequentl
This panel is part of the altarpiece or altar of repose from the Guisando Nativity (P00683-P00690), a common structure in numerous Spanish monastic cloisters. This one comes from the Hieronymite monastery in Guisando (Avila), where it was mentioned by Ponz in 1773. There, the altarpiece was set into a wall, forming a sort of box whose doors bore The Visitation, with Saint Jerome, Penitent and The
Christ returned to life, triumphant alongside the sarcophagus that held his body for three days after his death on Golgotha, was a frequent subject in Correa´s work. The retable for the convent of the Poor Clares in Griñon (Madrid), dated around 1532-1534, shaped its essential compositional structure, with Christ at the center over a stone staircase bearing the sarcophagus and flanked by so
Among the commissions that Correa made for the former monastery of the Bernardine fathers at Santa María la Real de Valdeiglesias are a group of three panels with scenes from the Passion of Christ. Their representations in circular compositions and many stylistic similarities indicate that they belonged to the same set. These three panels depict three successive stories: Pilate washing his
Among the commissions that Correa carried out for the former monastery of the Bernardine fathers at Santa María la Real de Valdeiglesias (Pelayos de la Presa, Madrid) is a group of three panels with scenes from the Passion of Christ. Their representations in circular compositions and many stylistic similarities indicate that they belonged to the same set. These three panels depict three suc
Three soldiers flank the apostle and patiently observe his long agony. They are dressed in the attire characteristic of this type of figure that appears in many of Correa’s works. The two figures on the left are reminiscent of the two figures depicted on the left in The Resurrection of Christ in the cloister of the no longer extant convent of San Juan de la Penitencia in Toledo. It is considered t
The figure has been identified as Saint Clement, a pope and a martyr from the 1st century (92–101). Originally Jewish, Saint Peter converted him to Christianity. According to tradition, he became a martyr by being thrown into the Black Sea with an anchor around his neck. In 867, Saints Cyril and Methodius transferred his remains to Rome and in so doing catalysed his devotional following. He is alw
This scene from the life of Saint Bernard depicts the Virgin Mary’s apparition to the Cistercian monk and the miraculous milk he received from her breasts as thanks for his devotion. He is accompanied by his customary iconographic symbols: an abbot’s staff, the bishop’s miter that he rejected, and books alluding to the texts he dedicated to Mary. This work was originally the central panel of one o
Christ appears above a rainbow with his feet resting on the globe of the Earth and his arms raised. He is flanked by Mary and Saint John the Baptist, and besides them, the twelve apostles. Two trumpeting angels announce the Last Judgement, which ties in with the lower scene of the resurrection of the dead and their reward or punishment for earthly acts. This representation of Christ resurrected as
On his deathbed, Saint Bernard is visited by the Virgin Mary, who places her right hand on his chest. She is accompanied by Saint Laurence and Saint Benedict. Two Bernadine Monks witness the scene from the background. In 1773, Antonio Ponz mentioned this composition, which he located in the cloister of the monastery of de Santa María la Real de Valdeiglesias (Pelayos de la Presa, Madrid). A
This New Testament scene depicts the Descent from the Cross of Christ´s body (Matthew 28, 57-61; Mark 15, 42-47; Luke 23, 50-55; John 19, 38-42). Joseph of Arimathea, Nicodemus and Saint John the Evangelist remove the nails and take down the Holy Body, while Mary Magdalene laments at his feet and the Virgin is consoled by other holy women. This is considered one of Correa´s finest works. The balan
&imagen=https%3a%2f%2fcontent3.cdnprado.net%2fimagenes%2fDocumentos%2fimgsem%2f65%2f656e%2f656e4bfc-1f9c-4d35-9fd3-161b11de06c3%2f70a37aee-7aea-4597-8700-44da599dcf36_268.jpg&idobra=656e4bfc-1f9c-4d35-9fd3-161b11de06c3){kind=link}
