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In the upper section, within an urban setting with a cobbler`s workshop in the background, Saint Sebastian is seen exhorting the brothers Marcus and Marcellian to ignore their family`s pleas and not renounce their Christian faith, for which they have been imprisoned. In the lower section, Sebastian and Polycarp destroy pagan idols in order to cure the Roman prefect Cromatius of his illness. Influe
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 is the left panel of the Altar Piece of the Pietà, Saint Michael and Saint Catherine from the church of Santa María in Ejea de los Caballeros (Zaragoza). The painter, originally from Pareja (Guadalajara) and active in Aragon, shows the archangel dressed in armour and a cloak, driving his lance into the head of the demon beneath his feet.Wearing armour and a cloak, the archangel
This is one of Bernat’s early works and is very similar to the work of Bermejo in the anatomy, colour and slim proportions of the figures in it -Saint John, the Magdalene, Longinus- as well as the little use of gold in the figures and in the scenery. The composition, a grandiose crucifixion which could have been completed in Bermejo’s workshop and with his help, is based on that of the altar piece
The wound in Christ`s side was inflicted after his death (John 19:34). The two angels, blue and dressed in blue, are apparently cherubim. Saint John the Evangelist steps forward to support the weeping Virgin, who is kneeling and embracing the Cross. Her mouth is very close to the blood running from the wounds in Christ`s feet. The three women on the right are presumably the Three Maries: Mary Magd
These panels (P2575, P2576, P2578), formerly in the Benedictine monastery at Sopetrán (Guadalajara), were part of an altarpiece created in Brussels that originally included a sculptural group. The artist was a follower of Rogier van der Weyden, as clearly revealed in the scene of the Annunciation, which is a version of a well-known composition by this artist. The panels were commissioned by
The painting, which comes from the church of Santa María in Ejea de los Caballeros (Zaragoza), is made up of five panels. The central panel represents the Resurrection. On either side of it are scenes dedicated to Saint Michael (The Shooting of the Bull on Mount Gargano and The Apparition of Saint Michael to Saint Gregory in Castel Sant’Angelo), and to Saint Catherine (Debate with the Philo
Large-format versions of the Virgin holding the dead body of Christ, like those at Badajoz Cathedral and at the Real Academia de Bellas Artes de San Fernando, gave way in Morales’s oeuvre to smaller compositions on the same subject, with half-length figures shown on a striking background of rigorous black. Against this, the two figures and the upright of the cross are contrasted with strong lighti
Antonello was trained in Naples, the Italian city most influenced by Flemish painting. He later worked in Sicily and mainland Italy. In 1475 he traveled to Venice and, while this work was painted on his return to Messina, the city visible in the background, it would not be understandable without reference to Giovanni Bellini. Bellini painted versions of the Pietà that gave Antonello a compo
These panels (P2575, P2576, P2578), formerly in the Benedictine monastery at Sopetrán (Guadalajara), were part of an altarpiece created in Brussels that originally included a sculptural group. The artist was a follower of Rogier van der Weyden, as clearly revealed in the scene of the Annunciation, which is a version of a well-known composition by this artist. The panels were commissioned by
This fragment of an altarpiece was attributed to the Hispano-Flemish painter Martín de Soria and more recently to Jaume Huguet. However, the evident Aragonese influence has led to an attribution to the so-called “Master of Saint George and the Princess”, a name deriving from the artist’s best-known panel, now in Barcelona (MNAC). The figure depicted here may be the prophet Daniel.
These panels (P2576, P2577, P2578), formerly in the Benedictine monastery at Sopetrán (Guadalajara), were part of an altarpiece created in Brussels that originally included a sculptural group. The artist was a follower of Rogier van der Weyden, as clearly revealed in the scene of the Annunciation, which is a version of a well-known composition by this artist. The panels were commissioned by
These panels (P2575, P2577, P2578), formerly in the Benedictine monastery at Sopetrán (Guadalajara), were part of an altarpiece created in Brussels that originally included a sculptural group. The artist was a follower of Rogier van der Weyden, as clearly revealed in the scene of the Annunciation, which is a version of a well-known composition by this artist. The panels were commissioned by
The similarity of this painting to the work of the Segovian painter, the Maestro del Parral, author of the Saint Jerome in the Museo Lázaro Galdiano (Madrid), and its relation to the work of Jorge Inglés (act. c. 1454-85), suggest the painter is from Castile. The Virgin Mary, helped by Saint John, is holding her dead son in her lap, assisted by Nicodemus and Mary Magdalene, and accom
Large-format versions of the Virgin holding the dead body of Christ, like those at Badajoz Cathedral and at the Real Academia de Bellas Artes de San Fernando, gave way in Morales’s oeuvre to smaller compositions on the same subject, with half-length figures shown on a striking background of rigorous black. Against this, the two figures and the upright of the cross are contrasted with strong lighti
This panel formed part of an altar dedicated to St Anne at Badajoz Cathedral. Commissioned by the bishop at that time, Juan de Ribera (1532-1611), it shows the young Virgin Mary seated half-length against an intensely dark background while the Christ Child, approximately a year old, rests on her lap. Jesus reclines and turns his head to look more intently at a winding frame in the form of a cross,
The name for this painter comes from the Saint Peter Altar Piece of Robredo de Zamanzas (Burgos). His style is influenced by that of Jorge Inglés, although it shows more expressiveness, apparent in the complex folds of the fabrics. As it is a fragment, the panel only shows three people: Christ, Peter and Simon. It is at Simon’s house that Mary Magdalene washes the feet of Christ with oil an
Christ as the Man of Sorrows is depicted with the wounds of his Passion, resurrected and seated on his tomb. This was a widely disseminated image in northern and central Europe at this period, intended for private meditation on Christ’s suffering. The artist, who was Flemish in origin, worked in Burgos throughout his career.
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