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The Virgin and Child with Saint Anne
Oil on panel. 1515 - 1517
Brescianino, Raffaello del (?); Leonardo Da Vinci (Copy After); Brescianino, Andrea del
The Virgin and Child with Saint Anne
Oil on panel. 1515 - 1517
Brescianino, Raffaello del (?); Leonardo Da Vinci (Copy After); Brescianino, Andrea del

Leonardo made three cartoons (full-scale drawings) with different ideas for the composition of his Saint Anne. This work is one of the few preserved testimonies to the second, produced by the master before his departure for Milan in 1508 and very close to the definitive version, although the scene is inverted. Another version of this picture was lost during the Second World War.

Alegoría mística con san Sebastián, san Bernardo y san Francisco
Oil on panel. 1582
Sánchez Coello, Alonso
Alegoría mística con san Sebastián, san Bernardo y san Francisco
Oil on panel. 1582
Sánchez Coello, Alonso

Primarily known as a portraitist, Sánchez Coello also produced religious compositions in which his style reflected that of the decoration for the monastery of El Escorial. In this notable example the figures’ compositional balance and monumentality is combined with a rich chromatism nuanced by variations of light. The canvas was painted for the funerary chapel of Clemente Gaitán de V

Saint Catherine of Alexandria, possibly a portrait of Catherine of Austria
Oil on panel. Ca. 1530
Carvalho, Domingo
Saint Catherine of Alexandria, possibly a portrait of Catherine of Austria
Oil on panel. Ca. 1530
Carvalho, Domingo

Although the crown, sword and serrated wheel identifies this figure as the fourth-century saint, Catherine, it has also been suggested that the sitter is Catherine of Austria (1507-1578), daughter of Philip the Fair and Joan of Castile and Queen of Portugal from 1525. She wears a sumptuous and elaborately painted court dress painted with a markedly decorative intent. Signed on the sword, this is t

Saint Stephen / The Imposition of the Chasuble on Saint Ildephonsus
Oil on panel. 1559
Correa de Vivar, Juan
Saint Stephen / The Imposition of the Chasuble on Saint Ildephonsus
Oil on panel. 1559
Correa de Vivar, Juan

The Museo del Prado’s collections include an important group of paintings by Juan de Correa de Vivar, an artist based in Toledo who must have been born at the beginning of the 16th century in the town of Mascaraque and died in the Imperial City in 1566. In total, these are nearly forty works from the former Museo Nacional de la Trinidad. Like many other 16th-century Spanish religious painters, Cor

Saint Catherine
Oil on panel. Ca. 1510
Yáñez de la Almedina, Fernando
Saint Catherine
Oil on panel. Ca. 1510
Yáñez de la Almedina, Fernando

This is one of the Spanish Renaissance’s most emblematic depictions of a female figure and the best known of Yáñez de la Almedina’s works. Both considerations are due to the visibility this work has received at the Museo del Prado, where it has been one of the essential icons in its galleries of 16th-century Spanish painting ever since it arrived in 1946. According to Jacopo de la Vo

The Holy Family, Saint Ildephonsus, Saint John the Evangelist and Master Alonso de Villegas
Oil on canvas. 1589
Prado, Blas de
The Holy Family, Saint Ildephonsus, Saint John the Evangelist and Master Alonso de Villegas
Oil on canvas. 1589
Prado, Blas de

A high surface acts as a sort of altar bearing an image of the Virgin and Child with Saint Joseph behind them. Saint John the Evangelist and Saint Ildephonsus stand at a lower level in front, flanking clergyman and writer Alonso de Villegas, who is presented in a three-quarters view. His devout posture, with hands joined at chest level and a serene, withdrawn expression as he contemplates Mary and

The Crucifixion
Oil on panel. Ca. 1566
Morales, Luis de
The Crucifixion
Oil on panel. Ca. 1566
Morales, Luis de

The dimensions, format, theme, support and pictorial style of these three works -The Crucifixion (P8211), Lamentation over the Dead Christ (Museo de Salamanca, CE 106) and The Resurrection (P8212)- all point towards a common provenance, an altarpiece with traditional subject matter linked to the Christological cycle, with special emphasis on the episodes related to the Passion, the death of Christ

Adoration of the Shepherds
Oil on panel. Ca. 1539
San Leocadio, Felipe Pablo de
Adoration of the Shepherds
Oil on panel. Ca. 1539
San Leocadio, Felipe Pablo de

The present Adoration of the shepherds has been identified with the main part of an altarpiece made for valencian silk maker Jacobo Perpinyà. That altarpiece is topped by a representation of the Incarnation and, according to the contract signed on july 28, 1539, it was supposed to be identical to another painted by silk maker Franci Sanchiz.The Adoration of the shepherds combines paternal e

The Saviour
Oil on panel. Ca. 1530
Cleve, Joos Van (Also Known As Joos Van Der Beke) (Attributed To)
The Saviour
Oil on panel. Ca. 1530
Cleve, Joos Van (Also Known As Joos Van Der Beke) (Attributed To)

Christ is depicted here in a frontal pose, as “Salvator Mundi”; his hand is raised in blessing, and he holds an orb. Although thought to be from the workshop of Van Cleve, this panel differs from the prototype created by the artist between 1515 and 1518. The orb, in particular, shows a mountainous landscape reminiscent of those painted by Patinir, rather than the regions from which the Magi came:

Saint Damian
Oil on panel. Ca. 1510
Yáñez de la Almedina, Fernando
Saint Damian
Oil on panel. Ca. 1510
Yáñez de la Almedina, Fernando

Depicted more than half-length, the Saint wears a flesh-colored tunic and blue robes with a fur collar and lining and a black cap. The jar of salve in his left hand alludes to his role as a holy doctor. The lower part of the background is unfinished, and only the sky remains in the upper part. While this painting´s attribution to Yáñez has sometimes been questioned, considering it th

The Descent from the Cross
Oil on oak panel. Ca. 1570
Kempeneer, Pieter
The Descent from the Cross
Oil on oak panel. Ca. 1570
Kempeneer, Pieter

Calvary and The Descent from the Cross were two of the most frequent subjects in Pedro de Campaña’s oeuvre. Their content, as well as the painter’s Flemish training, explain his manner of emphasizing the markedly dramatic character of their compositions, stressing the figures’ expressive qualities in very contrived nocturnal settings. It is no surprise that these subjects continued to occup

The Virgin and Child with the Infant Saint John the Baptist
Oil on panel. Ca. 1570
Morales, Luis de
The Virgin and Child with the Infant Saint John the Baptist
Oil on panel. Ca. 1570
Morales, Luis de

Morales here presents us with one of his most successful and heartwarming subjects, that of the Virgin and Child, although he also includes in this case the figure of the infant St John the Baptist, who looks out at the viewer with his blue eyes and, with a Harpocratic gesture, asks for silence so that Jesus’s sleep will not be disturbed. Illuminated by a strong light source, the scene stands out

The Death of the Virgin
Oil on panel. 1546 - 1550
Correa de Vivar, Juan
The Death of the Virgin
Oil on panel. 1546 - 1550
Correa de Vivar, Juan

Surrounded by the apostles, Mary lies on her deathbed. Dressed as a priest, Saint Peter gives her a lit candle, while Saint John and another apostle read the Holy Scriptures beside her. The scene of the Assumption is visible through the open window. Maintaining certain elements of the work of his teacher, Juan de Borgoña, such as the human types and the palette; in this work Correa reveals

Saint Lawrence / Saint Hilary
Oil on panel. 1559
Correa de Vivar, Juan
Saint Lawrence / Saint Hilary
Oil on panel. 1559
Correa de Vivar, Juan

The Museo del Prado’s collections include an important group of paintings by Juan de Correa de Vivar, an artist based in Toledo who must have been born at the beginning of the 16th century in the town of Mascaraque and died in the Imperial City in 1566. In total, these are nearly forty works from the former Museo Nacional de la Trinidad. Like many other 16th-century Spanish religious painters, Cor

Angels
Oil on panel. 1550
Kempeneer, Pieter
Angels
Oil on panel. 1550
Kempeneer, Pieter

The six musician angels (triangle, harp, flute, castanets, a type of violin and a tambourine) decorated the doors of a tabernacle. Despite the chromatic variety, the choice of a cool palette produces a technical result close to grisaille. This dissonant, almost Mannerist effect combined with the expressionistic physical types and the rather sketchy treatment of the figures is characteristic of Ped

Altarpiece of the Annunciation
Oil on panel. 1559
Correa de Vivar, Juan
Altarpiece of the Annunciation
Oil on panel. 1559
Correa de Vivar, Juan

The Museo del Prado’s collections include an important group of paintings by Juan de Correa de Vivar, an artist based in Toledo who must have been born at the beginning of the 16th century in the town of Mascaraque and died in the Imperial City in 1566. In total, these are nearly forty works from the former Museo Nacional de la Trinidad. Like many other 16th-century Spanish religious painters, Cor

The Virgin and Child
Oil on panel. Ca. 1565
Morales, Luis de
The Virgin and Child
Oil on panel. Ca. 1565
Morales, Luis de

This is one of Morales’s most characteristic and best-known paintings, both because of its technical quality, its domestic format and its apparently tender and heartwarming subject, and also because it is one of the works by the painter that have been exhibited continuously ever since first entering the Prado. It joined the Museum’s holdings in 1916 after the Royal Board of Trustees had accepted t

The Madonna of the Yarnwinder
Oil on panel. 1515 - 1530
Llanos, Fernando
The Madonna of the Yarnwinder
Oil on panel. 1515 - 1530
Llanos, Fernando

Esta obra está considerada una de las mejores de Fernando Llanos y figura entre las versiones más interesantes de la famosa creación de La Virgen de los husos de Leonardo da Vinci. Llanos absorbió de Leonardo los prototipos femeninos, el claroscuro y la incidencia de la luz en el modelado; la sutileza en la gradación tonal que define las formas, con una interpretación personal del sfumato o la imp

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