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Visio Tondalii fue el título de un poema anónimo del siglo XII de contenido moralizante, impreso en Amberes en 1482, que es considerado como una de las fuentes literarias de la obra de El Bosco.
This triptych is the principal creation and the work that has given the name to an anonymous follower of Rogier van der Weyden, previously identified as Vrancke van der Stockt. When open the triptych shows the Expulsion from the Garden of Eden, the Crucifixion and the Last Judgment. The left panel shows the Expulsion from Paradise with various scenes alluding to the Creation in the arch´s orders.
These panels (P02838, P02839, P02840), along with a fourth one in a private collection, illustrate the Story of Nastagio degli Onesti, the eighth novel of the fifth day of Boccaccio´s Decameron. This is the story of Nastagio, a young man from Ravenna who was rejected by the daughter of Paolo Traversari and abandoned the city to settle on its outskirts. This first panel shows Nastagio taking leave
Luini personifies the reception of Leonardo in Lombardy through the reuse of his formal inventions, often combining figures from several of Da Vinci’s prototypes as though putting together pieces in a jigsaw. While the gesture of the Virgin in this Holy Family is inspired by the Virgin of the Rocks at the Musée du Louvre, the postures of the children, a motif never represented by the master
Apollo appears in the foreground with drawn bow. Behind him, a fragment of the Zodiac shows the sign of Leo, and at the top: a winged figure holds the Sun.This painting and its companions (P307 to P312) are copies of cartoons for the mosaics at the Chigi Chapel in the Roman church of Santa Maria del Popolo. Those cartoons were made by Raphael and the mosaics, by Alvise della Pace in 1516.The paint
The life-sized figure that represents the planet Mercury holds the caduceus in his left hand and points with the index finger of his extended right hand. Behind him, a fragment of the zodiac presents the signs of Gemini and Virgo. At the top, a winged figure points to the sky with its left hand.This painting and its companions (P306 to P312) are copies of cartoons for the mosaics at the Chigi Chap
Se trata de una de las numerosas copias de la célebre creación de Andrea del Sarto, de la que existen a su vez varias versiones autógrafas. Una de ellas, propiedad de la Wallace Collection, presenta medidas muy similares y permite apreciar toda la fuerza cromática original (inv. P9, óleo sobre tabla, 106´5 x 81´3 cm). (Información actualizada por el Departamento de Pintura Italiana y Francesa hast
Dürer made this panel and its companion, Eve (P02178) upon returning from his second trip to Italy in 1505. Both works constitute an effort to synthesize what he had learned there, in search of a balance between Italian and Germanic approaches that would permit the ideal perfection of the human body. Thus, the choice of a biblical subject here is mere pretext. Dürer´s knowledge of the cl
Like the painting of Adam (P02177), represented on a separate panel, Eve´s unstable posture, her rhythmical movements and her affected gestures are sometimes interpreted as a return to earlier models of Gothic art, instead of what they really are, a foretaste of Mannerism. The solidity of the two bodies, Eve´s slightly Gothic curves -the prototype of a Germanic Venus- and Adam´s fascinated express
In 1954 this work, then in the Adanero Collection, was published by Angulo Íñiguez who unhesitatingly attributed it to Yáñez de la Almedina, or at least, his workshop. This attribution was accepted by Garín Ortiz de Taranco in the second edition of his book on Yáñez (1978), with added mention of its thematic ties to an altarpiece also attributed to
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
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 Apocrypha, specifically in the Gospel of Nicodemus, which tells of the Resurrection of Christ. The painting's composition reveals two fundamental influences: Michelangelo, in the monumentality of the fig
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 already reveals the grace that Vasari considered the greatest aesthetic quality of any painting: a gift of nature impossible to learn, combining beauty, delicacy and sweetness.
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 follows his orders with blind faith, Yahweh considers his faithfulness to be proven and sends an angel to save Isaac at the last moment, ordering that a lamb be sacrificed in his place. This Bible passage
As in the case of Leonardo with his depiction of this story from Ovid’s Metamorphoses, the German artist Georg Pencz was inspired by classical sculpture (in this case the Sleeping Ariadne) to depict the seduction of the Aetolian princess by Zeus, transformed into a swan. In contrast to the Renaissance visual tradition, the swan does not wrap itself around Leda but rather flirts with her, allowing
Christ appears above a rainbow with his feet resting on the globe of the Earth and his arms raised. He is flanked by Mary and Saint John the Baptist, and besides them, the twelve apostles. Two trumpeting angels announce the Last Judgement, which ties in with the lower scene of the resurrection of the dead and their reward or punishment for earthly acts. This representation of Christ resurrected as
