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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. The triptych belonged to Leonor de Mascarenhas (1503-1584), a Portuguese lady who moved to Spain in 1526 and was aya to Philip II and afterwards to his son Don Carlos. When in 1564 she founded the convent of Franciscan nuns
Comprising three panels, the Nativity, the Adoration of the Magi and the Presentation in the Temple, this painting is earlier than the triptych on the same subject painted by Memling for Jan Floreins in 1479. It is clearly influenced by Van der Weyden, as are other works by the artist. In this work, the unified space represented in the Nativity and the Adoration of the Magi is noteworthy. It was a
This painter from Burgos represents the transition from the international Gothic style in which he was formed to the hispano-flemish style, whose models he adapts with his personal manner. The three figures -Christ, the Virgin and Saint John- are so large that they occupy the entire foreground. Very carefully painted, it was made as an independent work. The extensive use of gold, which has been ap
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.
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 front and back of the lateral panels were separated at a recent date and the two scenes can now be seen simultan
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 century, by one of its principal protagonists. Guido di Pietro, known as Fra Angelico and probably trained with Lorenzo Monaco, is first documented as an independent master in 1418. Between that date and 14
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 offers blessings. Wearing a red cloak that alludes to the future Passion of her Son, the Virgin is about to be crowned Queen of Heaven by an angel. This work owes debts to Jan van Eyck´s Madonna Rolin and
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 scenes were located beneath Gothic canopies in which various sculptural groups completed the redemptive message,
This fragment of an altarpiece was attributed to the Hispano-Flemish painter Martín de Soria and more recently to Jaume Huguet. However, the expressive force and simultaneously dynamic but delicate style of this painting is close to a Saint George and the Princess in the Museu Nacional d’Art de Catalunya, a key work of Flemish influenced naturalism in Aragon and the one that provided the na
The image of the titular saint seated on a richly decorated Gothic throne was the central effigy of many Spanish late mediaeval altarpieces. Here we see a hieratic Saint James with his pilgrim’s attributes enthroned on a monumental cathedra in grisaille, adorned with lively marginalia. Kneeling at his feet, the figure of the donor may evoke a desire to go on a pilgrimage to Compostela or simply de
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 scenes were located beneath Gothic canopies in which various sculptural groups completed the redemptive message,
En este medallón se representa la cabeza de un joven imberbe hasta la zona clavicular. Su pelo corto se articula en ondulados mechones falciformes que se arremolinan movidos sobre la frente. Aunque la estructura y medidas del tondo son muy similares a las de los medallones lombardos, como los que ornamentan la capilla Colleoni o la Certosa de Pavía, la apariencia y estilo del rostro revela su vinc
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