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The Virgin nursing the Child
Oil on panel. Ca. 1530
Reymerswale, Marinus Van
The Virgin nursing the Child
Oil on panel. Ca. 1530
Reymerswale, Marinus Van

Marinus has depicted the Virgin nursing the Child in a domestic interior. Both figures are shown without halos, turning the representation into an image of the tender relationship between a mother and her child in the viewer’s own time and place. This iconography already appeared in the early fifteenth century and was used especially for images intended for private devotion. During the later Middl

The City Treasurer and his Wife or The Money Changer and his Wife
Oil on panel. 1538
Reymerswale, Marinus Van
The City Treasurer and his Wife or The Money Changer and his Wife
Oil on panel. 1538
Reymerswale, Marinus Van

As part of the Royal Collection, the City Treasurer and his Wife (the so-called Money Changer and his Wife) is one of the few paintings by Marinus in Spain that can be traced to the eighteenth century, and one which played a decisive role in the rediscovery of the painter’s work. However, when it was first recorded in the collection of Isabel Farnesio in 1746 it was attributed to Lucas de Olanda (

The Tax Collector and his Wife (so-called Money Changer and his Wife)
Oil on panel. 1539
Reymerswale, Marinus Van
The Tax Collector and his Wife (so-called Money Changer and his Wife)
Oil on panel. 1539
Reymerswale, Marinus Van

The Prado Tax Collector and his Wife (so-called Money Changer and his Wife) dated 1539 and gifted to the museum in 1934 is the second version of this subject recorded in Spain. Thanks to the recent research by Manuel Parada, it can now be identified as the earliest documented work by Marinus. The painting was acquired by Pedro Dávila y Zúñiga (1498-1567), 1st Marquis of Las Na

Saint Jerome in his Study
Oil on panel. 1541
Reymerswale, Marinus Van
Saint Jerome in his Study
Oil on panel. 1541
Reymerswale, Marinus Van

By far one the most popular themes in Marinus’ surviving work, Saint Jerome in his study has come down to us in several compositions. The preoccupation with this particular subject was a reaction to the early sixteenth-century concern with the depiction of the saint, who was venerated as one of the four fathers of the Western Church and held in high esteem as a scholar and the translator of the Bi

Saint Jerome in his Study
Oil on panel. 1541
Reymerswale, Marinus Van
Saint Jerome in his Study
Oil on panel. 1541
Reymerswale, Marinus Van

The painting played a major role in the rediscovery of Marinus’ work, in particular its relation to the production of Albrecht Dürer. It carries the date of 1521, the year that Dürer visited Antwerp and painted a Saint Jerome for Rui (Rodrigo) Fernandes de Almada, now in Lisbon (Museu Nacional de Arte Antiga, inv. 828). Although it was suspected early on that the signature and date must

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