Loading...
Saint James the Elder is depicted as a pilgrim, with his customary crozier or staff, although here it lacks the customary calabash for water. He wears a cape and a hat with the scallop shell that symbolizes the pilgrimage to Compostela, just as the Greek cross and palm did for pilgrims to Jerusalem and the double key and Speedwell for those headed to Rome. While the origin of the scallop shell rem
A devotional work that shows the Virgin against a delicate gold background. A window sill inscribed with the signature and a fragment of the mantle establish a realist caesura with the gaze of the viewer-worshipper. For this work, destined for private contemplation in a domestic setting, Master Bartolomé made use of a technical refinement that differs from his characteristically stark expre
The painter, of Riojan origin, completed his artistic formation with Jean Changenet in Avignon (doc. 1493). When he returned to Castile he worked in Palencia and Burgos. The simplification of volumes in his work and the importance given to light show the influence of Provencal art. Besides the sculptural image of the bishop and saint, there is a striking contrast between the realist design of the
This is the left panel of the Altar Piece of the Pietà, Saint Michael and Saint Catherine from the church of Santa María in Ejea de los Caballeros (Zaragoza). The painter, originally from Pareja (Guadalajara) and active in Aragon, shows the archangel dressed in armour and a cloak, driving his lance into the head of the demon beneath his feet.Wearing armour and a cloak, the archangel
The painter of this work was a collaborator of the sculptor Gil de Siloe and was familiar with Northern art. John the Baptist, recognisable by his clothing and by the lamb on the book, has been painted with great care. The use of strong light to emphasise his bulk is influenced by Van Eyck. On a smaller scale, on the right, is the donor, a cistercian nun. The painting probably comes from a Cisterc
This is the central panel of the altar piece in the archdeacon’s chapel in the cathedral of Zaragoza, built by Bernardo Villalba, archdeacon of this city, and Jaime Hospital, canon and archdeacon of Belchite. Giner represents Saint Vincent dressed as a deacon with two angels playing instruments and the donor kneeling on the left. He is on his feet, stepping on a moor; he has a book and a palm in o
On his throne, wearing a red tunic and holding the globe of the World in his left hand, Christ offers his blessing with his right. He is flanked by figures representing the Church and the Synagogue and surrounded by the Tetramorph. Christ is presented as the Savior of the world in this work that contrasts the figure of the Synagogue, with Moses’s tablets and a torn banner; and the figure of the Ch
Excepting some variants, such as the window opening onto a landscape or the face of the Virgin, this painting reproduces the composition of an engraving by Martin Schongauer, which accounts for its aesthetic links with productions from the region of Alsace and the Upper Rhine. Like the Master of La Sisla, other painters active in Spain in the late 15th century also drew inspiration from the prints
By all indications, this panel at the Museo del Prado with the signature FERNA[N]DO GALLEG[U]S is the earliest surviving work by that painter from Salamanca. While some scholars think he must have made it around 1480, the donor’s fashionable clothing, short hair and high cap suggest that the artist must not have painted this panel any later than 1470, and it very likely dates from a few years earl
After being brought to Iria, in Galicia, by boat -the scene visible in the background of the painting- Saint James’s body was carried in a cart pulled by two bulls. In this painting, Athanasius and Theodore, James’s disciples, walk behind the cart, dressed as pilgrims, while Queen Lupa watches the procession, astonished to see that the wild bulls she sent have been tamed. This painting and P02668
During his ascetic retreat to the desert, Saint Antony was subjected to numerous temptations by the devil. On one occasion, the devil disguised himself as a seductive woman in order to draw him into the sin of lust. On another, the Egyptian monk was violently tormented by a group of demonic creatures, represented here with different shapes and colours, as often requested by clients.
The naked Christ, crowned with thorns and with the marks of the Passion on his body, his hands bound and a rope around his neck, sits on a cold rock while resignedly waiting to be crucified. On the ground are his clothing and the bare cross. With no basis in scripture, this devotional image laden with drama became very successful at the end of the Middle Ages, especially in sculpture.
Bearing a sword in his right hand, and a shield in his left, Saint Michael, dressed in red robes, attacks a dragon, the symbol of sin. The upper part of the composition shows three heavenly choirs while, behind the Saint, good angels fight against the rebels, some of whom are represented as having already turned into horrible monsters, symbols of evil. The anonymous painter appears reflected in Sa
The scene comes from the main altarpiece of the monastery of Sijena (Huesca), a set formed by more than thirty panels that were dispersed in the 18th century. The composition, the figurative monumentality, the colouring and the architecture with Italian resonances point us towards Central European painting. The artist was recently identified as Rodrigo de Sajonia, who was living at the monastery w
The Virgin Mary, with the Christ Child on her lap, is worshiped by the Catholic Kings, Isabel (1451-1504) and Fernando (1452-1516), two of their children, and others. On the right of the composition, accompanying the Queen, are Saint Dominic, one of the Queen´s daughters and a kneeling male figure without a halo. The sword on his chest implies martyrdom, and he has been associated with Pedro de Ar
A votive image of Christ the Savior crowned with a cross-shaped halo. He wears a green tunic and red robes and has an expression of profound sorrow. All of these are symbols evoking his Passion. The golden inner frame around the bust contrasts with the greater volume and expressionism of Christ´s face, and these latter aspects of the work exemplify this painter´s move towards more mode
In Seville, Juan Sánchez de San Román worked at a time characterised by fresh demand for the production of images for domestic settings. In this painting Jesus looks at the viewer, with his face foreshortened, while pointing to the wound in his side. The artist employs a naturalism with Flemish roots (anatomical verisimilitude and depth) without discarding the conventions of mediaeva
The image of the titular saint seated on a richly decorated Gothic throne was the central effigy of many Spanish late mediaeval altarpieces. Here we see a hieratic Saint James with his pilgrim’s attributes enthroned on a monumental cathedra in grisaille, adorned with lively marginalia. Kneeling at his feet, the figure of the donor may evoke a desire to go on a pilgrimage to Compostela or simply de
