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Marco Grimani
Oil on canvas. 1576 - 1583
Tintoretto, Jacopo Robusti
Marco Grimani
Oil on canvas. 1576 - 1583
Tintoretto, Jacopo Robusti

A portrait of Marco Grimani (d. 1583), a Venetian senator and contemporary of Tintoretto. In keeping with the artist´s customary portrait compositions, the sitter appears slightly turned, over a black background, and gazing fixedly at the viewer. The placement of his left arm opens the work´s perspective into a third dimension. This realistic representation of the model is characteristic of Tintor

Portrait of a Doctor
Oil on canvas. 1582 - 1585
el Greco (Domenikos Theotokopoulos)
Portrait of a Doctor
Oil on canvas. 1582 - 1585
el Greco (Domenikos Theotokopoulos)

The figure represented in this painting is identified as a doctor on account of the ring on the thumb of his left hand. This could be Luis Mercado, physician to Philip II, or Rodrigo de la Fuente, a personal friend of El Greco’s and a very influential figure in Toledo at that time. The work is cited in the 1686 inventory of the Alcázar Palace of Madrid, where it remained until the fire of 1

Saint John Chrysostom
Oil on canvas. First half of the XVII century
Orrente, Pedro de
Saint John Chrysostom
Oil on canvas. First half of the XVII century
Orrente, Pedro de

Orrente here adheres to his practice of using religious scenes as a pretext to paint landscapes influenced by the famous works of the Bassano family. In this work he depictsthe 4th -century saint in his penitential retreat. Saint John Chrysostom is depicted nude and with long hair, hiding himself away from any occasional visitor who might come across his retreat.

Saint John the Evangelist in Patmos
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
Saint John the Evangelist in Patmos
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 John the Baptist in a Landscape
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
Saint John the Baptist in a Landscape
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

Portrait of an elderly Man
Oil on canvas. Ca. 1620
Tristán, Luis
Portrait of an elderly Man
Oil on canvas. Ca. 1620
Tristán, Luis

This is a work painted with a rapid, dynamic brushstroke that conveys both the figure’s physical features and his personality. It has traditionally been attributed to Luis Tristán, who worked in El Greco’s studio. The latter clearly influenced this image with regard to both its technique and composition

Francisco Pacheco
Oil on canvas. Ca. 1620
Velázquez, Diego Rodríguez de Silva y
Francisco Pacheco
Oil on canvas. Ca. 1620
Velázquez, Diego Rodríguez de Silva y

The second half of the 16th century and the first decades of the 17th saw the rise in Spain of male bust portraits in which the model normally appears against a neutral background with no elements to indicate his profession or identity. Often, the model wears a black suit with a ruff collar to indicate his bourgeois or noble social standing. Mostly, these portraits were made for private use as per

Saint John the Evangelist on Patmos
Oil on canvas. Ca. 1620
Orrente, Pedro de
Saint John the Evangelist on Patmos
Oil on canvas. Ca. 1620
Orrente, Pedro de

This canvas is a good example of the numerous influences that acted on Orrente’s style. They include his Venetian training, evident in his approach to the landscape in this painting, and unmistakable traces of the Roman Caravaggesque style, revealed here in the figure of the Evangelist, both in the arrangement of the figure and the way it is illuminated.

Kitchen Boy
Oil on canvas. Ca. 1620
López Caro, Francisco
Kitchen Boy
Oil on canvas. Ca. 1620
López Caro, Francisco

A table bears various earthenware vessels, a portable stove, a bronze mortar and two peppers. At its corner, a boy looks out of the painting. A sausage and a rabbit hang from above. The boy and objects are depicted with a naturalist technique that explores the descriptive possibilities of contrasting light and shadows with a particular taste for dark browns and earth tones in general.This concept

Portrait of a Gentleman
Oil on canvas. 1618 - 1623
Maíno, Fray Juan Bautista
Portrait of a Gentleman
Oil on canvas. 1618 - 1623
Maíno, Fray Juan Bautista

Nothing is known of this middle-aged gentleman with his black doublet and cloak, against which the wide, segmented ruff or gola and the delicate white cuff at his right wrist stand out. At his waist are a belt and a sword belt, both very plain, though essential accessories of aristocratic dress in Spain in the Golden Age. The sitter is depicted three-quarter length and lit from the side with a lig

Saint Matthew and Saint John the Evangelist
Oil on canvas. Ca. 1625
Ribalta, Juan
Saint Matthew and Saint John the Evangelist
Oil on canvas. Ca. 1625
Ribalta, Juan

In this painting, two men wearing tunics kneel next to a rocky crag, past which, in the distance, a stormy landscape opens up. The elder of the two men bends over a sheaf of papers on which he writes, using the surface of a rock as a desk. The other man points his right index finger to a page, while his other hand and his feverish gaze are directed heavenward. The younger of the two is the evangel

The Adoration of the shepherds
Oil on canvas. 1623 - 1625
Orrente, Pedro de
The Adoration of the shepherds
Oil on canvas. 1623 - 1625
Orrente, Pedro de

This canvas presents one of the most persistent subjects in Pedro Orrente´s substantial output: the Nativity and the Adoration of the shepherds, a popular theme among seventeenth-century Spanish painters. Bucolic scenes were also captured successfully throughout the sixteenth century and much of the seventeenth century by the influential family of Italian painters: Jacopo, Leandro and France

The Poultry Vendor
Oil on canvas. 1626
Loarte, Alejandro de
The Poultry Vendor
Oil on canvas. 1626
Loarte, Alejandro de

This is Loarte’s most ambitious work among his still lifes. A depiction of a market stall in the Plaza de Zocodover in Toledo, it marks the end of a career cut short by the artist’s early death. Brushwork, colour and lighting are used to create a composition of notable visual impact, of which another version of the same date is known.

The Fruit Vendors
Oil on canvas. Ca. 1650
Espinosa, Jerónimo Jacinto
The Fruit Vendors
Oil on canvas. Ca. 1650
Espinosa, Jerónimo Jacinto

A poor student is handing over some coins to a fruit-seller as he makes a knot in the handkerchief, clinched in his teeth, to put away the change. On the right side, in the immediate foreground, a young man biting on a chunk of melon stares at us. He is holding a basket full of fruit, which, besides the melons on the left, is one of the most attractive parts of this splendid “still life with figur

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