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The Miracle of Saint Anthony
Oil on canvas. Ca. 1665
Giordano, Luca
The Miracle of Saint Anthony
Oil on canvas. Ca. 1665
Giordano, Luca

El santo portugués aparece representado de tres cuartos, de pie, junto a un oratorio o bufete cubierto por un paño, sobre el que reposa un libro y una vara de azucenas, mientras sostiene al Niño Jesús en sus brazos. Se trata de una obra en la que Giordano trata de imitar el estilo de Ribera.

Bathsheba at her Bath
Oil on canvas. Ca. 1685
Giordano, Luca
Bathsheba at her Bath
Oil on canvas. Ca. 1685
Giordano, Luca

"David contempló desde la terraza de su palacio a la bella Betsabé que se encontraba desnuda bañándose. Preguntó por ella y le respondieron que se trataba de la mujer de Urías, el jeteo, lo cual no desanimó al rey, que mandó llamarla y durmió con ella, quedando Betsabé embarazada. David envió a Urías a la muerte, dejando así libre el camino para tomar por esposa a Betsabé" (Samuel II, 11: 2-27).La

Armida and Rinaldo
Oil on canvas. Ca. 1697
Giordano, Luca
Armida and Rinaldo
Oil on canvas. Ca. 1697
Giordano, Luca

Ubaldo y Carlo lograron penetrar en el palacio encantado de Armida, donde se encontraba ella con Reinaldo, entregados a sus juegos amatorios. Reinaldo, apoyado sobre la joven, contempla su rostro reflejado en un espejo. Dos figuras asoman en el bosque para urgirle a que abandone su retiro amoroso y regresar al combate.

Bathsheba at her Bath
Oil on canvas. 1696 - 1698
Giordano, Luca
Bathsheba at her Bath
Oil on canvas. 1696 - 1698
Giordano, Luca

Giordano ofrece una versión amable del pasaje bíblico que narra el encuentro del rey David y Betsabé, dando relevancia a los elementos exóticos, anecdóticos o decorativos, donde solo la sensualidad de Betsabé remite a la escabrosa historia narrada en el Libro de Samuel (II, 11: 2-27). David, acecha en el segundo plano, pintado con trazos ligeros y rápidos, construidos directamente sobre la prepara

Saint Rosalia
Oil on canvas. Ca. 1697
Giordano, Luca
Saint Rosalia
Oil on canvas. Ca. 1697
Giordano, Luca

The saint holds a bunch of Madonna lilies in allusion to her purity and a garland of roses that recalls her name. Her attitude brings this depiction closer to the most characteristic models of Guido Reni. Born in Naples, Giordano painted in Spain between 1692 and 1702. He is notable for his mural paintings, such as those executed for the Casón del Buen Retiro.

Maria Anna of Neuburg, Queen of Spain, on Horseback
Oil on canvas. 1693 - 1694
Giordano, Luca
Maria Anna of Neuburg, Queen of Spain, on Horseback
Oil on canvas. 1693 - 1694
Giordano, Luca

Evoking the model of the great equestrian portraits painted for the Spanish Habsburgs by Titian, Rubens and Velázquez, Giordano offers his own idealised and triumphal depiction of Maria Anna of Neuburg. The Queen is shown in a landscape that recalls the Bay of Naples, both accompanied by allegorical figures. It is not clear if these canvases were the bases for large-scale portraits of the m

Pilate washing his Hands
Oil on copperplate. After 1655
Giordano, Luca
Pilate washing his Hands
Oil on copperplate. After 1655
Giordano, Luca

Esta pintura ha sido relacionada con Durero (1471-1528) y con Lucas de Leiden (1494-1533). Supone un sobresaliente ejercicio de estilo que manifiesta su atenta observación de originales alemanes del siglo XV, cuya técnica Giordano intentó imitar. En ella Giordano aplicó una pincelada minuciosa y precisa de trazos cortos que reproducen con rigurosa exactitud el aspecto de los objetos, la incidencia

The Holy Family with the infant John the Baptist
Oil on panel. Ca. 1655
Giordano, Luca
The Holy Family with the infant John the Baptist
Oil on panel. Ca. 1655
Giordano, Luca

Giordano was particularly gifted at imitating the style of some of the celebrated masters of the past, as evident in this work which evokes Raphael’s pictorial language. More than a mere exercise in imitation, the presence on the rock on the right of two monograms with the letters “RSF VB” (Raphael Sanzio Faciebat Vrbinas) indicates the painter’s probable intention to produce a forgery.

The Death of the Centaur Nessus
Oil on canvas. 1696 - 1697
Giordano, Luca
The Death of the Centaur Nessus
Oil on canvas. 1696 - 1697
Giordano, Luca

Hercules wades effortlessly across the powerful Euenos River while his wife, the beautiful Deianira, requires the aid of the centaur Nessus to do so. While ferrying her across, the centaur attempts to rape her. In her defense, Hercules mortally wounds Nessus with his arrows, but with his last breath, the centaur tricks Deianira, promising her that if her husband wears his shirt, he will never look

Christ carrying the cross
Oil on canvas. Ca. 1697
Giordano, Luca
Christ carrying the cross
Oil on canvas. Ca. 1697
Giordano, Luca

The first known reference to this painting from the Spanish Royal Collection dates from 1700, when it was mentioned as being in the Alcázar, Madrid, along with another painting by Luca Giordano, Mater Dolorosa, now lost. It is in magnificent condition, and was restored in 2007.The powerful foreground shows Christ, rope around his neck, painfully carrying the cross. The general tone evokes t

Charles II, King of Spain, on Horseback
Oil on canvas. Ca. 1693
Giordano, Luca
Charles II, King of Spain, on Horseback
Oil on canvas. Ca. 1693
Giordano, Luca

Luca Giordano (1634-1705) made an equestrian portrait of Charles II for the Hall of Mirrors at Madrid’s Alcázar palace to emphasize the dynastic continuum in which Charles II constituted the latest link in a chain that had begun with Titian’s portrait of Charles V: Charles V at Mühlberg. The loss of Titian’s work in the fire that ravaged the Alcázar in 1734 makes it impossible t

The Kiss of Judas
Oil on copperplate. After 1655
Giordano, Luca
The Kiss of Judas
Oil on copperplate. After 1655
Giordano, Luca

Esta pintura ha sido relacionada con Durero (1471-1528) y con Lucas de Leiden (1494-1533). Supone un sobresaliente ejercicio de estilo que manifiesta su atenta observación de originales alemanes del siglo XV, cuya técnica Giordano intentó imitar. En ella Giordano aplicó una pincelada minuciosa y precisa de trazos cortos que reproducen con rigurosa exactitud el aspecto de los objetos, la incidencia

Charles II
Oil on canvas. 1693
Giordano, Luca
Charles II
Oil on canvas. 1693
Giordano, Luca

Charles II is depicted in armour, wearing the emblem of the Golden Fleece and an ornate neck tie in the French style, an accessory he favoured when outside Madrid from around 1677. Despite these formal elements, Giordano makes little effort to disguise the King’s unattractive appearance. This canvas was previously considered to be by Claudio Coello (1642-1693).

Vault with the Apotheosis of the Spanish Monarchy
Fresco-secco, Fresco painting on wall covering. Ca. 1697
Giordano, Luca
Vault with the Apotheosis of the Spanish Monarchy
Fresco-secco, Fresco painting on wall covering. Ca. 1697
Giordano, Luca

The vault of the former Hall of Ambassadors at the Buen Retiro Palace, constructed alongside the former Royal Quarters of San Jerónimo at the behest of the Count-Duke of Olivares as a royal residence for leisure and for the monarchs’ public and official receptions. In the eastern part of this complex, a small building was erected after the palace itself was completed (1632). It was designed

The Assumption of the Virgin
Oil on canvas. Ca. 1698
Giordano, Luca
The Assumption of the Virgin
Oil on canvas. Ca. 1698
Giordano, Luca

En el plano superior aparece la Virgen sentada sobre una nube sostenida por ángeles; abajo y en sombra, ángeles músicos. El artista señala la existencia de planos a través del color y del detalle, más menudo y trabajado en el plano más próximo al espectador (sobre todo la Virgen) y más deshecho en los planos subsiguientes.Esta pintura aparece desde su primera mención (1747) asociada a otras cinco

Hercules on the Pyre
Oil on canvas. 1697 - 1700
Giordano, Luca
Hercules on the Pyre
Oil on canvas. 1697 - 1700
Giordano, Luca

Representa la escena en la que Hércules está en la pira sobre la piel del león de Nemea. Filoctetes, amigo y compañero de Hércules, en la parte inferior del lienzo procede a prender fuego a la pira por petición del héroe, para paliar así su dolor. Más atrás aparecen dos mujeres lamentándose, una de ellas debe ser Deyanira, mujer de Hércules.La composición de esta pintura es ligeramente diferente a

Jacob wrestling with the Angel
Oil on canvas. 1694 - 1696
Giordano, Luca
Jacob wrestling with the Angel
Oil on canvas. 1694 - 1696
Giordano, Luca

Jacob luchó con un ángel hasta el amanecer, momento en el que este le propuso acabar la pelea. Jacob, consciente de que había peleado con Dios, le pidió su bendición (Génesis 32: 24-32).Es obra importante en el catálogo de Giordano, no solo por su incuestionable calidad, sino porque en ella puso en práctica inteligentes recursos para crear efectos nocturnos. Efectivamente, se trata de una escena e

Saint Peter weeping
Oil on canvas. Ca. 1700
Giordano, Luca
Saint Peter weeping
Oil on canvas. Ca. 1700
Giordano, Luca

Pintura de devoción privada en la que Giordano presenta a San Pedro arrepentido derramando lágrimas de aflicción, después de haber negado a Cristo por tres veces. Con la mirada elevada al cielo, las manos entrelazadas sobre el pecho en gesto de piadosa oración y actitud de profundo recogimiento, el Apóstol implora perdón por su pecado. Sobre la piedra del primer término, en la que han quedado marc

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