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The Redemption Triptych consists of three scenes. The central one shows Christ on the Cross, with the Virgin and Saint John under an archway with Gothic tracery leading to a church. In the archivolts [+]
These panels (P02838, P02839, P02840), along with a fourth one in a private collection, illustrate the “Story of Nastagio degl Onesti”, the eighth novel of the fifth day of Boccaccio´s Decameron [+]
El pintor ha representado a una joven semidesnuda apoyada sobre cojines y paños de brocado, rodeada por tres niños. A su lado aparece el cisne en que Júpiter se ha transformado para seducir a la mucha [+]
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Luini shows the influence Leonardo da Vinci had in the area around Milan, although he only adopts the latter´s models and some formal aspects. The Holy Family with Saint John the Baptist was a private [+]
This panel depicts the unusual subject of the resurrected Christ appearing before the Virgin with virtuous pre-Christian figures redeemed from Limbo. It is one of the first examples of a subject that [+]
Wearing a white tunic and bearing the standard of victory, Christ leans toward Adam and Eve who, nude, hope to be rescued from Limbo and taken to the Kingdom of Heaven. This passage appears in the Apo [+]
When Parmigianino left his native city of Parma to move to Rome in 1524 he took this painting with him and presented it to Pope Clement VII. This is the artist´s first mature work and one that a [+]
This scene portrays the moment described in the Old Testament (Genesis 22, 1-19) in which, at the orders of Yahweh, Abraham prepares to sacrifice his son Isaac as an offering. Seeing that Abraham foll [+]
Correa depicts Christ as the Supreme Judge of mankind, flanked by saints led by the Virgin and Saint John. In the lower part, the resurrected move towards heaven or hell, depending on their virtues or [+]
Death has taken hold of an older woman who is in turn trying to pull along a voluptuous young woman who seems to be resisting. Death holds an hourglass and a broken lance, on the lower tip of which a [+]
The convincingly modelled figures seem like the fantastical inhabitants of a ghostly forest illuminated by the light of the full moon. One reads a book next to a laurel tree while her companions look [+]
In contrast to the paintings created for the Camerino d´Alabastro and the poesie made for Philip II, the canvases on the subject of Venus do not form a homogenous group as they were not painted for on [+]
The painting is a faithful visualisation of Genesis 30, 9-19 in which Eve is blamed for accepting the forbidden fruit (although the type of fruit is not stated, Titian follows tradition and opts for a [+]
Titian painted five images of Venus and music, but those five variations on a single theme were not made for the same client, nor intended to be exhibited together. Set in a villa, they show Venus rec [+]
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