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The composition is derived from a Cristo incoronato di Spine done by Jacopo Bassano towards 1589-1590 (Rome, private collection), in which Ballarin clearly sees the influence of Titian´s Christ Crowne [+]
Salome, an Edomite princess born of Herodias and the wife of Herod Philip I, carries the severed head of Saint John the Baptist on a tray, illustrating a Bible passage from Matthew (14:1–11) and Mark [+]
We know from a letter of 30 June 1553 from the Spanish Ambassador in Venice that Titian was waiting for instructions from the emperor to paint a panel of Our Lady the same as the Ecce Homo which Your [+]
Paolo Veronese`s Penitent Magdalene, 1583, reflects the change occurring in Venetian religious painting around 1580. On one hand, the new order of priorities imposed by the Council of Trent (1545-63) [+]
Piombo was the Italian painter most in demand by Spanish clients during the first half of the sixteenth century. Fernando de Silva, Count of Cifuentes and ambassador to Rome from 1533 to 1536, commiss [+]
Renaissance painting abounds with representations of Christ bearing the cross on the road to Calvary, either as an isolated figure, or with an executioner assailing him, or accompanied by soldiers, cu [+]
We know from a letter of 30 June 1553 from the Spanish Ambassador in Venice that Titian was waiting for instructions from the emperor to paint a panel of Our Lady the same as the Ecce Homo which Your [+]
The Museo del Prado has two paintings of this Gospel episode (Matthew 27: 32-33; Mark 21-22; Luke 23: 26-27) which narrates how Simon of Cyrene had to carry the cross for the exhausted Christ on the w [+]
When Charles V retired to Yuste, he took with him a panel by Coxcie as a pair to a Mater dolorosa by Titian. This may be that work. The Emperor’s choice indicates the prestige that Coxcie enjoyed duri [+]
On 13 July 1558, Philip II asked Titian to make haste with the completion of an Agony in the Garden which the artist had agreed to finish one year earlier, but which was only sent to the monarch in 15 [+]
This is a late work by Veronese, characterised by its marked formal and chromatic austerity. It also reveals the profound spiritual and emotional intensity of the artist’s late religious compositions. [+]
Although we do not know when Titian first treated this subject, it was probably in 1535, when he painted a Christ for Federico Gonzaga following a model provided by the duke. The earliest surviving Ec [+]
The Bassanos’s studio specialized in the serial production of small works for private devotion based on the great composition by the head of the family, Jacopo. The Burial of Christ, painted on slate, [+]
For the decoration of one of the rooms in Duke Alfonso I of Ferrara’s private apartments in the capital of his duchy, Dosso Dossi executed a frieze comprising ten horizontal canvases of episodes from [+]
This is a Roman copy of an athlete, made in about 370 B. C. by one of Policlytus’s pupils, perhaps Daedalus of Sikion (act. 400-360 B. C.). From a version of the sculpture in Berlin, we know that he i [+]
Busto de Cristo mayor que el natural, con la cabeza vuelta hacia la derecha del espectador y los ojos bajos. El rostro tiene forma oval, con labios muy finos, barba partida y cabello largo y rizado qu [+]
