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En esta obra el rostro de Cristo muestra los rasgos propios del pintor, materializados con una técnica más libre, con los contornos menos definidos, como las tablitas de la primera serie del Políptico [+]
Francisco Fernández de Córdoba wears a biretta and ecclesiastical robes. He was the son of the second Count of Cabra and of Doña María Hurtado de Mendoza-Luna. He was the B [+]
In keeping with the Gospel according to Saint Luke (22: 39-46), Christ, far from the disciples, kneels down with his hands separated and prays to the Father to take away the cup of suffering he must d [+]
Hidden by a cloud, Christ ascends to heaven, watched by Mary and the apostles, amongst whom James is placed in a prominent position. He appears with a staff and a pilgrim’s hat. The upper part of Chri [+]
According to the Acts of the Apostles (2: 1-41), the Virgin and the apostles were gathered in the Upper Room when the Holy Spirit descended on them in the form of tongues of fire. The Holy Spirit is s [+]
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 g [+]
A devotional image of the Virgin Mary wearing blue and white, with a halo. She looks directly at the viewer, transmitting her sorrow at the death of Christ. The bust is completed with a gilded inner f [+]
In the bay of a Renaissance cloister, Mary is seated on a throne with her Son on her lap. On the left is Saint Benedict and on the right, Saint Bernard, patrons of the Order of Montesa. The latter pro [+]
In keeping with the style of his final years in Palencia, this Flemish painter increases the size of the three main figures- Christ blesses Lazurus, who rises from the tomb. His hand rests on the top [+]
This and five other panels at the Prado Museum (P06897, P06898, P06899, P06900, P06901), are some of the finest examples of the collaboration between Rodrigo and Francisco de Osona. They were probably [+]
This and five other panels at the Prado Museum (P6898, P6899, P6900, P6901, P6902), are some of the finest examples of the collaboration between Rodrigo and Francisco de Osona. They were probably desi [+]
There are very few preserved likenesses of Isabella the Catholic (1451-1504), whom the sources describe as a woman with a cheerful character, white skin, blue eyes and fair hair. Interrupted in her re [+]
The painter who, according to documents, was of German origin, made this work in Córdoba. In order to execute this scene, he used the so-called Prevedari Engraving, made after a drawing by the [+]
