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The panel’s small size, making it particularly suitable for private devotion, reflects the growth of the cult of the Virgin. A typical feature of Tuscan art of this date is the use of inscriptions suc [+]
This is the central panel of the main altarpiece in the church of Santa María in Tobed (Zaragoza). During his exile in Aragon, Henry of Trastamara (illegitimate son of Alfonso XI of Castile) wh [+]
Copia en busto del original de La Virgen de la Leche de Robert Campin (hacia 1375-1444) en el Stäedelsches Kunstinstitut de Francfort, repetido en numerosas ocasiones. Fragmentada, debía de tener en o [+]
This painting may have come from the Cistercian monastery of Nuestra Señora de Benifazá (Castellón), although it was later transferred to the church of the Priory of Santa Ana de [+]
This is a large gothic altarpiece. Its central panel depicts the Virgin with Child, and behind them, four angels hold the brocade backdrop while four others play musical instruments. Saint Benedict an [+]
The Virgin with the Pomegranate is an exceptional work painted during one of the key periods in the history of art, in Florence, cradle of the Renaissance, in the first quarter of the fifteenth centur [+]
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. [+]
This altarpiece, either from an unidentified location in Zaragoza or from the Calatayud area, has a principal part and a predella. The principal part comprises three sections on two levels and four in [+]
This painting is made in three planes. At the top, Christ on the throne between the Virgin and Saint John the Evangelist with the Lamb at his feet, from which a spring flows. In the middle plane are a [+]
Mary sits in a portico open to the landscape, holding the Christ Child as Savior of the World (Salvator Mundi) in her lap. In one hand, the infant holds a globe of the world and with the other he offe [+]
This altarpiece consists of nine large panels plus the eighteen that make up the predella. The main scene is The Virgin with the Christ Child surrounded by Angel Musicians, which is completed with fiv [+]
The painter, linked to the Mendoza family, patrons of this work, was familiar with Netherlandish painting as shown in the Annunciation, similar to Van der Weyden. The kneeling donor is thought to be t [+]
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 [+]
The Virgin appears seated in a walled garden, an allusion to the hortus conclusus or enclosed garden, which symbolizes her perpetual virginity. In her arms she holds the Christ Child, who takes an app [+]
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 [+]
The artist of this panel is traditionally referred to as the Master of the Luna Family, whom Post first identified in 1933 as one of the two painters who produced the altarpiece for the chapel of Sain [+]
This is the only panel signed by this painter, who worked with Fernando Gallego on the former high altar of the cathedral of Ciudad Rodrigo (University of Arizona Museum of Art, Tucson, Arizona). It i [+]
The Virgin holds the Christ Child in her arms, flanked by two saints in a Sacra Conversazione. The saint on the left has been identified as Saint Catherine and the one on the right as either Saint Urs [+]
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