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Christ’s prayer on the Mount of Olives is the gospel episode that precedes his arrest and the beginning of his Passion and death on the cross. After the last supper with his disciples, Jesus withdraws [+]
In this picture in the Prado, Morales combines elements that allude to both moments, -the Presentation in the Temple and the Purification of the Virgin-, although it might appear at first that he incl [+]
These works (P7948 and P944) embody a more decorous variation of the breastfeeding Madonna, a reference to the succour afforded by the Virgin to all believers. Morales designed a composition which avo [+]
Jesus is shown half-length, crowned with thorns and with a haggard face, parted lips, prominent cheekbones, and moist eyes raised in an attitude of submission to the divine will. His hair, beard, mous [+]
These works (P944 and P7948) embody a more decorous variation of the breastfeeding Madonna, a reference to the succour afforded by the Virgin to all believers. Morales designed a composition which avo [+]
In this presentation of the Virgin breastfeeding the Christ Child, Morales discreetly avoids showing her naked breast, in line with his habitual practice. Through the restlessness of the Christ Child, [+]
This work is an example of an exceptional iconography within the subject matter habitually dedicated to the Passion by the painter, and even within that of the European art of his time as a whole. Alt [+]
In a single sequence, the painting shows the Archangel Gabriel’s greeting to Mary, his announce ment to her that she has been designated as the mother of the son of God, and her acceptance of the divi [+]
This is one of Morales’s most characteristic and best-known paintings, both because of its technical quality, its domestic format and its apparently tender and heartwarming subject, and also because i [+]
The Virgin Mary, turned slightly to the right, has her hands clasped in an imploring attitude, her gaze absent and her eyes flooded with tears. She wears a bluish-green robe, a violet tunic and a whit [+]
It is not known when or how these two paintings -Saint Juan de Ribera and Saint John the Baptist (P950)- came to be the property of Luisa Enríquez, but their common provenance has never been se [+]
It is not known when or how these two paintings -Saint John the Baptist and Saint Juan de Ribera (P947)- came to be the property of Luisa Enríquez, but their common provenance has never been se [+]
The dimensions, format, theme, support and pictorial style of these three works -The Crucifixion (P8211), Lamentation over the Dead Christ (Museo de Salamanca, CE 106) and The Resurrection (P8212)- al [+]
The dimensions, format, theme, support and pictorial style of these three works -The Crucifixion (P8211), Lamentation over the Dead Christ (Museo de Salamanca, CE 106) and The Resurrection (P8212)- al [+]
The Birth of the Virgin at the Museo del Prado, the only painting on this subject by the hand of Luis de Morales and a work that remained unpublished until 2003, and the two pieces at the Museum Schlo [+]
Large-format versions of the Virgin holding the dead body of Christ, like those at Badajoz Cathedral and at the Real Academia de Bellas Artes de San Fernando, gave way in Morales’s oeuvre to smaller c [+]
It is extremely likely that these two panels, -The Adoration of the Magi and The Adoration of the Shepherds-, similar in format, measurements and style, belonged to the predella of the same altarpiece [+]
It is extremely likely that these two panels, -The Adoration of the Shepherds and The Adoration of the Magi-, similar in format, measurements and style, belonged to the predella of the same altarpiece [+]
