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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 r [+]
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 [+]
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 fro [+]
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 lit [+]
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 [+]
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 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 [+]
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 c [+]
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 h [+]
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. [+]
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 attributio [+]
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. [+]
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 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 Jo [+]
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 c [+]
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 aga [+]
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, apparen [+]
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, intende [+]
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