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Triptych with Episodes from the Life of Christ
Grisaille, Oil on oak panel. Ca. 1440
Master Of The Collins Hours
Triptych with Episodes from the Life of Christ
Grisaille, Oil on oak panel. Ca. 1440
Master Of The Collins Hours

The Triptych in the Museo del Prado labeled as Scenes from the Life of Christ is a pivotal work in the story of Valencian painting in the fifteenth century and in the transmission of the style and technique of Jan van Eyck to the Iberian Peninsula. The panel entered the Prado collection in 1931 from the convent of the Encarnación in Valencia, a Carmelite foundation established in 1502. It w

The Crucifixion
Oil on panel. 1509 - 1519
Flandes, Juan de
The Crucifixion
Oil on panel. 1509 - 1519
Flandes, Juan de

Documents at Palencia Cathedral cast light on this Crucifixion’s original location -the central row of the main altarpiece at that cathedral- and its author: Juan de Flandes (doc. 1496-1519). They also offer information about this panel between 1509, when that Flemish painter was commissioned to paint it, and 1944, when the Cathedral management sold it. Those same documents indicate that Palencia

The Nativity
Oil on panel. Ca. 1470
Master Of Sopetrán
The Nativity
Oil on panel. Ca. 1470
Master Of Sopetrán

These panels (P2575, P2576, P2578), formerly in the Benedictine monastery at Sopetrán (Guadalajara), were part of an altarpiece created in Brussels that originally included a sculptural group. The artist was a follower of Rogier van der Weyden, as clearly revealed in the scene of the Annunciation, which is a version of a well-known composition by this artist. The panels were commissioned by

The Virgin and Child, known as the Durán Madonna
Oil on panel. 1435 - 1438
Weyden, Rogier Van Der
The Virgin and Child, known as the Durán Madonna
Oil on panel. 1435 - 1438
Weyden, Rogier Van Der

The panel has been trimmed on all four sides but little of the painted surface can have been lost. It is made from two boards of Baltic oak, both from the same tree; the last ring was formed in 1372. Black overpaint conceals areas of damage on our left of the Virgin`s face and on our left of the Child`s head and torso. On our right of the Virgin, a similar area of black overpaint may hide a shadow

Francisco Fernández de Córdoba y Mendoza
Oil on panel. 1520 - 1521
Rincón, Fernando del
Francisco Fernández de Córdoba y Mendoza
Oil on panel. 1520 - 1521
Rincón, Fernando del

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 Bishop of Oviedo from 1526 and of Palencia from 1536, and died in 1539. Some verses in Latin identify the sitter and the painter who was “inspector” of Ferdinand the Catholic’s painters. The frame is o

The Agony in the Garden
Oil on pine panel. 1514 - 1519
Flandes, Juan de
The Agony in the Garden
Oil on pine panel. 1514 - 1519
Flandes, Juan de

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 drink, represented by the chalice on the rock. The three apostles who accompany him, Peter, John and James, are asleep. The painting comes from the main altar piece of the church of San Lázaro i

Pentecost
Oil on pine panel. 1514 - 1519
Flandes, Juan de
Pentecost
Oil on pine panel. 1514 - 1519
Flandes, Juan de

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 symbolized by the dove which flies over Mary, surrounded by a large circular halo. This and three other panels by Juan de Flandes (P02935, P02936, P02937) belonged to the main altarpiece at the Church

The Death of the Virgin
Oil on panel. Ca. 1470
Master Of Sopetrán
The Death of the Virgin
Oil on panel. Ca. 1470
Master Of Sopetrán

These panels (P2575, P2576, P2578), formerly in the Benedictine monastery at Sopetrán (Guadalajara), were part of an altarpiece created in Brussels that originally included a sculptural group. The artist was a follower of Rogier van der Weyden, as clearly revealed in the scene of the Annunciation, which is a version of a well-known composition by this artist. The panels were commissioned by

The Annunciation
Oil on panel. Ca. 1470
Master Of Sopetrán
The Annunciation
Oil on panel. Ca. 1470
Master Of Sopetrán

These panels (P2576, P2577, P2578), formerly in the Benedictine monastery at Sopetrán (Guadalajara), were part of an altarpiece created in Brussels that originally included a sculptural group. The artist was a follower of Rogier van der Weyden, as clearly revealed in the scene of the Annunciation, which is a version of a well-known composition by this artist. The panels were commissioned by

Diego Hurtado de Mendoza y Figueroa, 1st Duke of Infantado
Oil on panel. Ca. 1470
Master Of Sopetrán
Diego Hurtado de Mendoza y Figueroa, 1st Duke of Infantado
Oil on panel. Ca. 1470
Master Of Sopetrán

These panels (P2575, P2577, P2578), formerly in the Benedictine monastery at Sopetrán (Guadalajara), were part of an altarpiece created in Brussels that originally included a sculptural group. The artist was a follower of Rogier van der Weyden, as clearly revealed in the scene of the Annunciation, which is a version of a well-known composition by this artist. The panels were commissioned by

Queen Isabella the Catholic
Oil on panel. Ca. 1490
Anonymous
Queen Isabella the Catholic
Oil on panel. Ca. 1490
Anonymous

This portrait of Isabella I of Castile (1451-1504) is one of the earliest known depictions of the Catholic Queen, shown wearing a jewel she received from her father in a clear reference to dynastic continuity. The panel was painted in the Low Countries or possibly in Britain, where it is documented at a very early date. Given that Isabella never left Spain, it must have been painted from models or

The Flagellation
Oil on panel. 1500 - 1505
Fernández, Alejo
The Flagellation
Oil on panel. 1500 - 1505
Fernández, Alejo

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 architect Donato Bramante (c. 1444-1514). This explains how, without having been to Italy, Fernández attained his mastery of the representation of space and knowledge of Renaissance architectur

The Virgin and Child
Wood. 1480 - 1490
Anonymous
The Virgin and Child
Wood. 1480 - 1490
Anonymous

Obra flamenca de hacia 1480-90, de estilo muy próximo al del anónimo maestro del retablo de Covarrubias, cuyos modelos y técnica son idénticos, según Salas (1978). En cambio, A. Franco (1997) no descarta la hipótesis de que pudo ser ejecutada en España por algún artista flamenco. El rostro de María es de gran delicadeza, de forma ovalada, con las facciones extremadamente finas y dulces. Peina cebe

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