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Taken together, these three works clearly convey a Eucharistic meaning. They depict Christ holding up the chalice and the Host (P00844), flanked by two Old Testament figures: King Melchizedek, bearing bread and wine (P00853), and the priest Aaron with a jar of incense (P00854). The three panels were part of the tabernacle of the high altar in the church of the Birth of the Virgin in Fuente de la H
This panel was part of the Saint Eligius Altarpiece located in the chapel of the silversmiths’ guild in the church of Santa Catalina, Valencia. The altarpiece was commissioned from Juan de Juanes, who collaborated on its creation with his father, Vicente Macip. The present panel reflects an interesting transitional moment in the painting of both masters, with elements derived from both Sebastiano
This painting formed part of the Altar Piece of San Esteban (Valencia), the most celebrated work by Juanes, who came from Valencia. The scenes included the most important episodes in the life of the saint, considered to be the first martyr of Christianity. According to the Acts of the Apostles , the preaching of Saint Stephen aroused the suspicions of the Sanhedrin and he was accused of destroying
Painted for the base of the main altarpiece of San Esteban in Valencia (P00838, P00839, P00840, P00841 and P00842), Inspired by Leonardo, both in the definition of the space and in the eloquent expressiveness of the apostles, it also shows Juanes’s close relationship with Raphael. In keeping with traditional iconography in Spain, he focussed the scene on Jesus, serene and triumphant at the moment
This work´s existence and interest were noticed by Valencian specialist and director of that city´s Museum of Fine Arts, Fernando Benito Domenech. That museum´s Juan de Juanes exhibition in 2000 included this panel and convincingly related it to the Saint Eligius Altarpiece, which the Valencian Silversmiths´ Guild had commissioned for the church of Santa Catalina in 1534. That contract called for
A depiction of the New Testament story (Acts 7, 58) Saint Stephen was condemned to stoning after angering the priests of the Sanhedrin assembly. This scene represents the moment when he is taken out of the city and led to martyrdom, by the executioners at the doors of Jerusalem, just as Christ was, on Calvary. Juanes differs from his father´s style I by accenting the ugliness of the executioners,
Purchased by Charles IV, this portrait entered the royal collections in 1814 and was already listed in the Museo del Prado’s catalogs in 1854 as a work by Juan de Juanes. The identity of the sitter has varied since José de Madrazo suggested it was Luis Castelví, Lord of Carlet. Today, lacking unanimous agreement, it is generally accepted as a likeness of the Lord of Bicorp y Quera, L
Juan de Juanes depicts the episode in the Acts of the Apostles when Saint Stephen declared before the Sanhedrin: “I see the heavens opened and the Son of Man standing on the right hand of God.” When they heard him the priests “cried out with a loud voice and stopped their ears and rushed together at him” (Acts 7, 56 and 57). The classical architecture of the temple is a striking element in the com
This painting forms part of the Altarpiece of San Esteban (Valencia), along with other scenes from the saint´s life (P00838, P00839, P00841 and P00842), as well as the Last Supper (P00846). According to the Acts of the Apostles, Saint Stephen was condemned to stoning after angering the priests of the Sanhedrin assembly. While he commends his soul to God, the executioners angrily stone Stephen, who
Masip depicts this fourth-century Roman saint´s second martyrdom, when, after having been condemned to be burned at the stake, the flames miraculously failed to touch her body and she was finally condemned to die by beheading. The logs, still burning and smoking, appear at the martyr´s feet. The lamb she holds in her arms symbolizes her virginity at the moment of her death, which was r
Taken together, these three works clearly convey a Eucharistic meaning. They depict Christ holding up the chalice and the Host, flanked by two Old Testament figures: King Melchizedek, bearing bread and wine (P00853), and the priest Aaron with a jar of incense (P00854). The three panels were part of the tabernacle of the high altar in the church of the Birth of the Virgin in Fuente de la Higuera (V
This is a scene from The Visitation, with Saint Elizabeth kneeling in homage to Mary, as is customary in Italian art since Ghirlandaio. Zachariah and Saint Joseph stand behind them. The dynamic postures and varied gestures of the figures here denote the influence of Raphael. In the landscape, which owes a debt to Flemish art, Masip depicts the Baptism of Christ, thus adding the forgiving of Origin
The Virgin is crowned in the heavens by God the Father, Christ and the Holy Spirit, depicted in the form of a dove with its wings outstretched. Around them are grouped thirty-three saints of a type characteristic of Masip, all witnessing this glorious event. The small format, meticulous execution and use of gold for some details make this panel an exceptional work. It was acquired by King Ferdinan
This direct, frontal depiction of Christ wearing the crown of thorns, his hands tied and holding a reed sceptre, was one of Juanes’s most succesful compositions. The meticulous rendering is reminiscent of Netherlandish painting. The strongly-lit figure stands out against a dark background, enhancing the viewer’s concentration on the emotional pathos of the image.
Taken together, these three works clearly convey a Eucharistic meaning. They depict Christ holding up the chalice and the Host (P00844), flanked by two Old Testament figures: King Melchizedek, bearing bread and wine (P00853), and the priest Aaron with a jar of incense (P00854). The three panels were part of the tabernacle of the high altar in the church of the Birth of the Virgin in Fuente de la H
This painting forms part of the Altarpiece of San Esteban (Valencia), along with other scenes from the saint´s life (P00838, P00839, P00841 and P00842), as well as the Last Supper (P00846). This panel, shows the moment when the body of Saint Stephen is placed in the tomb by a group of eight men. The composition of the scene recalls the Entombment of Christ in the arrangement of the figures and the
Este oratorio portátil es una pieza excepcional que aúna dos delicados trabajos de Damián Forment y Juan de Juanes, figuras fundamentales del Renacimiento en la Corona de Aragón. La representación central del conjunto es la placa de alabastro donde aparece san Jerónimo en su retiro penitencial en el desierto, aunque convertido éste en ámbito rocoso significado por el árbol del primer término en do
This scene, narrated in the Acts of the Apostles, depicts the so-called “choice of deacons”, the moment when, in the name of the Apostles, Saint Peter ordered seven virtuous men to serve at the table of the widows of the Hellenists (Jews born outside Judea). In addition to Stephen, who appears kneeling and wearing a dalmatic, Philip, Prochorus, Nicanor, Timon, Parmenas and Nicholas stand by him.
