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The theme of this triptych is the advent of salvation -a message about the universality of Redemption. The Eucharistic meaning inherent in the theme of Saint Gregory’s Mass is also found in The Adorat [+]
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In the same year that he published the Apocalipsis cum figuris, Dürer painted himself as a gentleman, dressed in light toned clothes and looking his best. He wears an open black and white doublet [+]
Two banderoles, one above and the other below the central circle, contain Latin texts from Deuteronomy (32: 28-29 and 20), warning against the wages of sin. The upper banderole, between the tondos of [+]
This is one of the Spanish Renaissance’s most emblematic depictions of a female figure and the best known of Yáñez de la Almedina’s works. Both considerations are due to the visibility t [+]
Documents at Palencia Cathedral cast light on this Crucifixion’s original location -the central row of the main altarpiece at that cathedral- and its author: Juan de Flandes (doc. 1496-1519). They als [+]
Since the moment when it was decided that the present work is by Raphael but that the sitter is not Antonio Granvela, art historians have expended considerable efforts on identifying the sitter.The mo [+]
In addition to the originality of its subject, this painting by Patinir is also remarkable for its unusual composition within Patinir`s oeuvre. The artist has divided the space vertically into three z [+]
Antonio Correggio’s stay in Rome between 1518 and 1519 powerfully affected his late work, which reflects that of late Raphael and the Michelangelo of the Sistine Chapel. Without ever abandoning Andrea [+]
The painting is a faithful visualisation of Genesis 30, 9-19 in which Eve is blamed for accepting the forbidden fruit (although the type of fruit is not stated, Titian follows tradition and opts for a [+]
Charles V commissioned The Glory from Titian during their meeting in Augsburg in 1550-51. The painting was completed in October 1554 and was sent to Brussels. The unusual composition, which must corre [+]
Titian painted his first self-portrait before leaving for Rome in 1545. However, it was after his Roman stay that he showed the most interest in disseminating his image in order to fully establish his [+]
Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first [+]
Philip II owned two pictures of this saint painted by Titian. The first can be identified with the portrait of Saint Margaret mentioned by the painter in a letter sent to the then Prince Philip on II [+]
In this moral work, the triumph of Death over mundane things is symbolized by a large army of skeletons razing the Earth. The background is a barren landscape in which scenes of destruction are still [+]
Eve accepts the forbidden fruit from the hands of the devil, who is half child and half serpent. Sitting on the roots of the tree of Good and Bad, Adam tries to stop her. This is a copy of a painting [+]
