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The Adoration of the Shepherds
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
The Adoration of the Shepherds
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista

On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight months to make the paintings, which had to portray the scenes and episodes specified by the prior of the monastery. Despite the agreement reached in the contract, the paintings were not completed until De

Nativity
Oil on canvas. Ca. 1610
Cajés, Eugenio
Nativity
Oil on canvas. Ca. 1610
Cajés, Eugenio

Eugenio was the son of Tuscan painter Patricio Cajés, who came to Spain to work for Philip II at the monastery of El Escorial. His mother, Casilda de la Fuente, was Spanish. He began studying painting with his father and later moved to Rome (1595-1599), where he discovered two new trends in painting that would largely define the course of art in the 17th century: Caravaggio’s chiaroscuro an

The Adoration of the Magi
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
The Adoration of the Magi
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista

On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight months to make the paintings, which had to portray the scenes and episodes specified by the prior of the monastery. Despite the agreement reached in the contract, the paintings were not completed until De

Saint Francis comforted by an Angel
Oil on canvas. Ca. 1620
Ribalta, Francisco
Saint Francis comforted by an Angel
Oil on canvas. Ca. 1620
Ribalta, Francisco

Toward the end of the 17th century, Saint Francis’s iconography expanded as many of the classical biographic themes were replaced with more complex episodes -especially trance visions- mystical ecstasies that reflected the new Baroque esthetic and offered, in the case of Saint Francis, a new approach to the depiction of a figure whose life was being presented by his Order in terms of biographical

The Holy Family
Oil on canvas. 1631
Carducho, Vicente
The Holy Family
Oil on canvas. 1631
Carducho, Vicente

Vicente Carducho is a paradigmatic figure in Spanish painting from the early decades of the seventeenth century, a period of transition from the Tuscan-Roman mannerism to so-called early naturalism. In this context, the works of Carducho, who trained in the monastery of San Lorenzo de El Escorial together with his brother, Bartolomé, may be seen as prolonging the Tuscan traditions in their

Portrait of a Dwarf
Oil on canvas. Ca. 1626
Hamen y León, Juan Van Der
Portrait of a Dwarf
Oil on canvas. Ca. 1626
Hamen y León, Juan Van Der

A sumptuously dressed and armed dwarf holds a ruler´s staff, an attribute of power that cannot have corresponded to his status. He was probably one of the court buffoons, who were showered with presents and dressed in ostentatious luxury. Since the sixteenth century, portraits of these figures were quite customary, although it was Velázquez who explored this genre with singular mastery. The

Saint Bonaventure receiving the Habit from Saint Francis
Oil on canvas. 1628
Herrera The Elder, Francisco de
Saint Bonaventure receiving the Habit from Saint Francis
Oil on canvas. 1628
Herrera The Elder, Francisco de

This is one of a series of eight works painted by Herrera and Zurbarán for the church of the Colegio de San Buenaventura in Seville on the subject of the life of that saint (1221-1274). The present canvas depicts the moment when the young Bonaventure kneels before Saint Francis to receive the habit. The palette of earth tones and lively brushstrokes are characteristic of the artist`s style.

Self-portrait
Oil on canvas. 1620 - 1630
Orrente, Pedro de
Self-portrait
Oil on canvas. 1620 - 1630
Orrente, Pedro de

Orrente había nacido en Murcia (como aclara la inscripción de la parte superior) y desarrolló la mayor parte de su carrera en el Levante español, además de Toledo, donde permaneció entre 1626 y 1631. También conoció Italia, donde estuvo entre 1604 y 1612 y estudió principalmente las obras de los Bassano, cuyo estilo y técnica influirían poderosamente en su obra. A juzgar por su indumentaria, el cu

Christ embracing Saint Bernard
Oil on canvas. 1625 - 1627
Ribalta, Francisco
Christ embracing Saint Bernard
Oil on canvas. 1625 - 1627
Ribalta, Francisco

This is one of Ribalta’s most beautiful compositions within his late output. The figure of Christ is adapted from the model devised by Sebastiano del Piombo in his Lamentation over the Dead Christ (Saint Petersburg, Hermitage), a work Ribalta copied on two occasions. The powerful body, facial features and expression, as well as the sense of light, are all indebted to Sebastiano.

Saint Jerome
Oil on canvas. 1640 - 1645
Herrera The Elder, Francisco de
Saint Jerome
Oil on canvas. 1640 - 1645
Herrera The Elder, Francisco de

Saint Jerome is seen in his retreat, studying and reading while listening to the trumpet of the Last Judgment. This is a characteristic work from Herrera’s mature period, which was characterised by a vigorous, energetic brushstroke and human types imbued with vitality and inner force. Also typical of the artist is the construction of the tunic, a fluid, almost monochrome area of paint with soft, l

Saint John the Baptist
Oil. Before 1613
Maíno, Fray Juan Bautista
Saint John the Baptist
Oil. Before 1613
Maíno, Fray Juan Bautista

Saint John the Baptist in a landscape could be described as an already-known work within Maíno’s oeuvre. Two other versions of this composition have been published, both of which are characterised by the use of an evening light that bathes the gentle hill strategically located in the background that is so characteristic of this artist’s work, as is the inclusion of plants and shrubs, rushin

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