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Jerónimo Vich y Valterra (1459-1535) was Spain’s ambassador to Rome between 1506 and 1521, under the reigns of Ferdinand the Catholic and Charles V. Vich commissioned Sebastiano del Piombo to p [+]
When Parmigianino left his native city of Parma to move to Rome in 1524 he took this painting with him and presented it to Pope Clement VII. This is the artist´s first mature work and one that already [+]
Christ´s dead body is taken off the Cross by Joseph of Arimathea, Nicodemus and Saint John the Evangelist. Among the people at his feet are the Virgin Mary, the mother of Joseph —also called Mary— as [+]
Educated as a young man in France and Florence, in 1527 Pier Maria Rossi (1504-1547), Seventh Count of San Secondo, was in the service of Clement VII but that same year entered the employment of Charl [+]
This scene portrays the moment described in the Old Testament (Genesis 22, 1-19) in which, at the orders of Yahweh, Abraham prepares to sacrifice his son Isaac as an offering. Seeing that Abraham foll [+]
Along with its religious emotiveness and the perfect rendering of Christ´s anatomy, the most attractive aspect of this composition is the landscape, which reproduces the view of the via San Giovanni f [+]
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 [+]
This portrait of García de’Medici (1547–1562), third son of Cosimo de’Medici and Leonor de Toledo, is an excellent example of the scant interest in the depiction of children prior to the Enligh [+]
Outside of Rome and Florence, no painter was as decisive in the formulation of painting´s classical language as Corregio. His youth, before his stay in Rome in 1518 and 1519, cannot be understood with [+]
In 1504, after training with Perugino, Raphael moved from Perugia to Florence, where he remained for four years to absorb the work of Leonardo and Michelangelo. His gradual mastery of classicism is vi [+]
Jacopo Basilio commissioned this painting for the Monastery of Santa Maria dello Spasimo in Palermo, from which it derives its popular name, lo Spasimo di Sicilia (“The Wonder of Sicily”), which refle [+]
The Virgin Mary holds the Christ Child, flanked on the right by an angel and, on the left, by Saint Matthew. The landscape in the background shows a scene from the Apocrypha (Proto-Gospel of Saint Jam [+]
After a documented stay in Rome and a highly probable visit to Parma to study Correggio, Barocci returned to Urbino in 1576. When he painted this work for Francesco Maria II della Rovere, Duke of Urbi [+]
This Charity, one of the most important works by the Tuscan painter Portelli, derives from a work on the same subject by Francesco Salviati (1510-1563) now in the Uffizi, Florence, emulating its compo [+]
Salviati belonged to a generation of Florentine painters characterised by the sophistication of their visual language and by a deliberate formal and conceptual complexity. Having trained with Andrea d [+]
Wearing a white tunic and bearing the standard of victory, Christ leans toward Adam and Eve who, nude, hope to be rescued from Limbo and taken to the Kingdom of Heaven. This passage appears in the Apo [+]
There is some controversy about the authorship of this small panel painting, which some historians attribute to Florentine painter Andrea del Sarto and others consider closer to the work of 16th-centu [+]
Seated on a throne, the Virgin holds the Christ Child in her lap. On the right, Saint Jerome dressed as a Cardinal reads the Vulgata (The Bible he, himself, translated into Latin). The Archangel Rapha [+]
