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The Descent from the Cross
Oil on oak panel. Ca. 1570
Kempeneer, Pieter
The Descent from the Cross
Oil on oak panel. Ca. 1570
Kempeneer, Pieter

Calvary and The Descent from the Cross were two of the most frequent subjects in Pedro de Campaña’s oeuvre. Their content, as well as the painter’s Flemish training, explain his manner of emphasizing the markedly dramatic character of their compositions, stressing the figures’ expressive qualities in very contrived nocturnal settings. It is no surprise that these subjects continued to occup

Angels
Oil on panel. 1550
Kempeneer, Pieter
Angels
Oil on panel. 1550
Kempeneer, Pieter

The six musician angels (triangle, harp, flute, castanets, a type of violin and a tambourine) decorated the doors of a tabernacle. Despite the chromatic variety, the choice of a cool palette produces a technical result close to grisaille. This dissonant, almost Mannerist effect combined with the expressionistic physical types and the rather sketchy treatment of the figures is characteristic of Ped

Christ on the Way to Calvary
Oil on oak panel. Ca. 1547
Kempeneer, Pieter
Christ on the Way to Calvary
Oil on oak panel. Ca. 1547
Kempeneer, Pieter

Until this donation by Placido Arango in 2015, the Museo del Prado had no paintings by Pieter van Kempeneer, an artist born in Brussels and first documented in Seville in 1537 after a period spent in Italy (Bologna, Venice and Rome). Known as Pedro de Campaña in Spain, Kempeneer remained here until 1563 before returning to his hometown. His oeuvre is characterized by numerous altarpieces an

Self-portrait
Oil on oak panel. Ca. 1550
Kempeneer, Pieter
Self-portrait
Oil on oak panel. Ca. 1550
Kempeneer, Pieter

This work is fundamental for a knowledge of the origins of portraiture in Spain and the role of Pedro Campaña - a Brussels-born artist who worked in Seville - in its emergence. It is also a self-portrait, a type of work rarely produced in sixteenth-century Spain. The exquisite, fine brushstrokes and detailed drawing reveal the exceptional quality of Campaña’s work and his Flemish roo

The Crucifixion
Oil on oak panel. Ca. 1550
Kempeneer, Pieter
The Crucifixion
Oil on oak panel. Ca. 1550
Kempeneer, Pieter

The choice of soft colouring ranging from the green of the vegetation to the blue of the perizonium, in marked contrast with the drama of the subject matter, gives this painting an unsettling atmosphere. The light dominates everything, although Christ has just died. With his usual technical skill, Kempeneer creates a small panel intended for spiritual exercise in a domestic oratory.

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