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Saint Anthony of Padua
Oil on canvas. XVII century
Herrera The Younger, Francisco de
Saint Anthony of Padua
Oil on canvas. XVII century
Herrera The Younger, Francisco de

La composición, en origen inscrita en un óvalo que aún puede apreciarse, está ocupada casi en su totalidad por la figura del santo, quien sostiene entre sus brazos al Niño Jesús y una rama de azucenas, símbolo de su pureza. La iconografía que presenta el lienzo deriva de la aparición con que le otorgó la Virgen en su propia celda, para entregarle al Niño Dios, según relata el Liber Miraculorum, y

The Triumph of Saint Hermenegild
Oil on canvas. 1654
Herrera The Younger, Francisco de
The Triumph of Saint Hermenegild
Oil on canvas. 1654
Herrera The Younger, Francisco de

The Triumph of Saint Hermenegild (d. 585) and of the Catholic Church over Arianism. The saint rises up to heaven surrounded by angels carrying the symbols of his origin and martyrdom: the crown and scepter of a Visigothic king, on the left; and the chains and ax of his martyrdom, on the right. On the lower part of the painting are King Leovigildo, dressed in armor, and an Arian Bishop with the cha

Saint Joseph's Dream
Oil on canvas. Ca. 1662
Herrera The Younger, Francisco de
Saint Joseph's Dream
Oil on canvas. Ca. 1662
Herrera The Younger, Francisco de

An angel appears to Saint Joseph in his sleep, pointing to the dove of the Holy Ghost as the heavens open in a luminous burst of glory. Under the dove, a group of angels carry a mirror and flowers alluding to the fact that Mary remains a virgin despite her pregnancy. On a mat alongside the saint, we see an adze, a hand drill and other carpentry tools.Saint Joseph’s Dream was a relatively frequent

The Immaculate Conception
Oil on canvas. Ca. 1670
Herrera The Younger, Francisco de
The Immaculate Conception
Oil on canvas. Ca. 1670
Herrera The Younger, Francisco de

This work has recently been added to the donation made by Plácido Arango. It has been convincingly attributed to Francisco de Herrera the Younger due to the similarities between some of its details and those in autograph works by the artist, one of the most influential painters in Madrid and Seville in the mid-seventeenth century.

Group of Angels carrying the Holy Cross
Pencil, Grey-brown wash, Stylus, Squared-up on yellow laid paper. XVII century
Herrera The Younger, Francisco de
Group of Angels carrying the Holy Cross
Pencil, Grey-brown wash, Stylus, Squared-up on yellow laid paper. XVII century
Herrera The Younger, Francisco de

The drawing depicts three young angels in flight carrying a wooden cross, from which ribbons hang. A child angel holds one of these ribbons. Several other angels and cherubs make up the rest of the composition.Jonathan Brown hypothesised that the drawing was done in preparation for the painting on the inner part of the cupola of the chapel of the Siete Dolores in the church of Santo Tomás.

Flying Cherub
Black chalk, Red chalk on yellow laid paper. Ca. 1670
Herrera The Younger, Francisco de
Flying Cherub
Black chalk, Red chalk on yellow laid paper. Ca. 1670
Herrera The Younger, Francisco de

This drawing depicts a cherub seated in the air with his head turned to the left and arms to the right of the picture plane. Although this completed technique differs considerably from most of the drawings confirmed to have been made by him (which are usually lighter and betray a nervous hand), this model appears in some of his canvases and its nature closely reflects painting in Madrid from aroun

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