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The Crucifixion
Mixed method on panel. Ca. 1480
Bernat, Martín
The Crucifixion
Mixed method on panel. Ca. 1480
Bernat, Martín

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

Saint Dominic of Silos enthroned as a Bishop
Oil on panel. 1474 - 1477
Bermejo, Bartolomé
Saint Dominic of Silos enthroned as a Bishop
Oil on panel. 1474 - 1477
Bermejo, Bartolomé

This iconic image was intended as the central panel of the church of Santo Domingo de Silos (Daroca). While the face and bodily posture are dominantly and hypnotically hieratic, the minute rendering of the rich episcopal vestments (pluvial cope, mitre, book and crozier) and the gilded microarchitecture of the monumental throne reflect a pictorial illusionism of Flemish inspiration. This surprising

The Main Chapel of San Juan de los Reyes, Toledo
Pencil on parchment. 1485 - 1490
Guas, Juan
The Main Chapel of San Juan de los Reyes, Toledo
Pencil on parchment. 1485 - 1490
Guas, Juan

A cross-section of the sanctuary of the church at the Monastery of San Juan de los Reyes in Toledo, founded by queen Elizabeth I in 1477. This image of the proposed construction differs considerably from the finished building, which lacks the clerestory or gallery and has a much wider and more simply ribbed dome. The final decoration of the squinches and windows is completely different, as the lat

Maximilian I, Holy Roman Emperor - Mary of Burgundy
Gilt-bronze. After 1477
Filangeri Candida, Giovanni
Maximilian I, Holy Roman Emperor - Mary of Burgundy
Gilt-bronze. After 1477
Filangeri Candida, Giovanni

Esta medalla es un retrato doble de los abuelos paternos de Carlos V, Maximiliano de Austria (1459-1519) y María de Borgoña (1457-1482). En el anverso, vemos un Maximiliano joven, con una imagen que debía agradar al emperador, ya que fue el modelo empleado en diferentes medallas realizadas a lo largo de casi veinte años. La primera vez que aparece es en el reverso de la medalla de Carlos de Borgoñ

Maximilian I, Holy Roman Emperor / Mary of Burgundy
Bronze. Ca. 1479
Filangeri Candida, Giovanni
Maximilian I, Holy Roman Emperor / Mary of Burgundy
Bronze. Ca. 1479
Filangeri Candida, Giovanni

En el anverso aparece Maximiliano I con ligeras variantes respecto a O00966, con el busto más largo y el corte del brazo, pero no sucede lo mismo con el retrato de María de Borgoña. Aquí, la duquesa ha transformado su aspecto virginal de la medalla O00966 por el de una mujer de aspecto más maduro. La austeridad de su vestido y la ausencia de adornos en cabeza y cuello hace que su alta dignidad res

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