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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 [+]
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 fro [+]
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 painte [+]
This is one of Bernat’s early works and is very similar to the work of Bermejo in the anatomy, colour and slim proportions of the figures in it -Saint John, the Magdalene, Longinus- as well as the lit [+]
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 B [+]
This is by the same artist as The Presentation (P-1257), although it has a more Germanic character on account of it being almost a copy of an etching by Martin Schongauer (c. 1435/50-1491) of the same [+]
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 Th [+]
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 whi [+]
This panel is from the principal altarpiece in the monastery at Sijena (Huesca). The composition, monumentality of the figures, intense colours and the cross-sectioned architectural structures of Ital [+]
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, [+]
This work formed part of the altar piece of the church of Santo Domingo de Silos in Daroca (Zaragoza) together with Bermejo’s Saint Dominic of Silos (P1323). It shows one of the two stories about the [+]
This painting is a slight variation of the central panel in the predella of the Don Álvaro de Luna Altar Piece which is in the Toledo cathedral (doc. 1488). Mary, helped by Saint John and Nicod [+]
Mary, who is very richly dressed, is holding the Christ child above the altar; Joseph is at her side. Simeon is also in the room, along with some women, one of whom has a basket with two doves in it. [+]
This painting is by a painter from the parish of San Román in Seville, who also painted the Calvary with a Donor for the city’s cathedral. As a devotional work, meant for personal meditation, i [+]
The depiction of the titular saint seated on an ornately decorated Gothic throne presided over numerous late Medieval Hispanic altarpieces. This panel is one example, commissioned by the donor depicte [+]
The name for this painter comes from the Saint Peter Altar Piece of Robredo de Zamanzas (Burgos). His style is influenced by that of Jorge Inglés, although it shows more expressiveness, apparen [+]
The artist of this panel is traditionally referred to as the Master of the Luna Family, whom Post first identified in 1933 as one of the two painters who produced the altarpiece for the chapel of Sain [+]
This and five other panels at the Prado Museum (P6897, P6898, P6899, P6900, P6901), are some of the finest examples of the collaboration between Rodrigo and Francisco de Osona. They were probably desi [+]
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