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The Garden of Earthly Delights Triptych
Grisaille, Oil on oak panel. 1490 - 1500
Bosch, Hieronymus
The Garden of Earthly Delights Triptych
Grisaille, Oil on oak panel. 1490 - 1500
Bosch, Hieronymus

The Garden of Earthly Delights is Bosch’s most complex and enigmatic creation. For Falkenburg the overall theme of The Garden of Earthly Delights is the fate of humanity, as in The Haywain (P02052), although Bosch visualizes this concept very differently and in a much more explicit manner in the centre panel of that triptych than in The Garden of Earthly Delights. In order to analyse the work’s me

The Virgin and Child with two Angels
Oil on panel. 1480 - 1490
Memling, Hans
The Virgin and Child with two Angels
Oil on panel. 1480 - 1490
Memling, Hans

The Virgin appears seated in a walled garden, an allusion to the hortus conclusus or enclosed garden, which symbolizes her perpetual virginity. In her arms she holds the Christ Child, who takes an apple from an angel´s hand, a clear allusion to the redemption of the original sin. On the other side, a second angel plays a viola of arc. The composition derives from a model by Rogier van der Weyden a

The penitent Saint Jerome
Oil on panel. 1525 - 1530
Anonymous
The penitent Saint Jerome
Oil on panel. 1525 - 1530
Anonymous

Located against a background landscape resembling those of Joachim Patinir (c. 1480-1524), Saint Jerome kneels in prayer before a crucifix and skull. In this case he is not depicted inside a cave or by its entrance. His red robe and hat identify him as a cardinal while the book refers to his role as a Father of the Church and the translator of the Bible into Latin. Behind him is the lion who accom

Pietà
Mixed method on pine panel. 1465 - 1470
Gallego, Fernando
Pietà
Mixed method on pine panel. 1465 - 1470
Gallego, Fernando

By all indications, this panel at the Museo del Prado with the signature FERNA[N]DO GALLEG[U]S is the earliest surviving work by that painter from Salamanca. While some scholars think he must have made it around 1480, the donor’s fashionable clothing, short hair and high cap suggest that the artist must not have painted this panel any later than 1470, and it very likely dates from a few years earl

The Descent from the Cross
Oil on oak panel. Ca. 1570
Kempeneer, Pieter
The Descent from the Cross
Oil on oak panel. Ca. 1570
Kempeneer, Pieter

Calvary and The Descent from the Cross were two of the most frequent subjects in Pedro de Campaña’s oeuvre. Their content, as well as the painter’s Flemish training, explain his manner of emphasizing the markedly dramatic character of their compositions, stressing the figures’ expressive qualities in very contrived nocturnal settings. It is no surprise that these subjects continued to occup

The Crucifixion
Oil on panel. 1475 - 1485
Master Of The Legend Of Saint Catherine
The Crucifixion
Oil on panel. 1475 - 1485
Master Of The Legend Of Saint Catherine

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

The Martyrdom of Saint Agnes
Oil on panel. 1540 - 1545
Macip, Vicente
The Martyrdom of Saint Agnes
Oil on panel. 1540 - 1545
Macip, Vicente

Masip depicts this fourth-century Roman saint´s second martyrdom, when, after having been condemned to be burned at the stake, the flames miraculously failed to touch her body and she was finally condemned to die by beheading. The logs, still burning and smoking, appear at the martyr´s feet. The lamb she holds in her arms symbolizes her virginity at the moment of her death, which was r

The Holy Family with a Lamb
Oil on panel. 1507
Raphael (Raffaello Sanzio)
The Holy Family with a Lamb
Oil on panel. 1507
Raphael (Raffaello Sanzio)

In 1504, after training with Perugino, Raphael moved from Perugia to Florence, where he remained for four years to absorb the work of Leonardo and Michelangelo. His gradual mastery of classicism is visible in a series of Madonne that constitute a delicate series of variations on the subject of motherly love. One of these is the Holy Family of the Lamb, which is based on a preparatory drawing by Le

The Trinity
Mixed method on panel. 1480 - 1490
Ximénez, Miguel
The Trinity
Mixed method on panel. 1480 - 1490
Ximénez, Miguel

Ximénez employs a rare iconography for the Trinity here which shows all three figures in human form. God the Father and God the Holy Spirit, seated on a throne, hold Christ, represented as Salvator Mundi, by his arms. On either side is an angel, one with a sword and the other with lilies. Ximénez’s distinctive linear style and simple drapery folds are clearly apparent.

The Embarkation of the Body of Saint James the Greater at Jaffa
Mixed method on panel. 1480 - 1490
Bernat, Martín
The Embarkation of the Body of Saint James the Greater at Jaffa
Mixed method on panel. 1480 - 1490
Bernat, Martín

After Saint James the Greater was beheaded, his followers and disciples took his body to the ship that would take him from Jaffa to Galicia. Behind this scene, Herod Agrippa and his court watch what is happening while the executioner puts away the sword he has used to kill the apostle. The painting probably comes from the church of Santiago, in Zaragoza.

The Animals entering Noah’s Ark
Oil on canvas. Ca. 1570
Bassano, Jacopo (Jacopo Dal Ponte)
The Animals entering Noah’s Ark
Oil on canvas. Ca. 1570
Bassano, Jacopo (Jacopo Dal Ponte)

This painting is Jacopo´s first depiction of the passage from Genesis 6:20 and the only one in which the theme is treated separately rather than as part of a series depicting the story of Noah. Jacopo respected the biblical tale in terms of the number of people who were saved -Noah, his wife, and his three sons Shem, Ham and Japheth, with their wives- but took liberties with the animals. In some c

The Visitation
Oil on panel. 1540 - 1545
Macip, Vicente
The Visitation
Oil on panel. 1540 - 1545
Macip, Vicente

This is a scene from The Visitation, with Saint Elizabeth kneeling in homage to Mary, as is customary in Italian art since Ghirlandaio. Zachariah and Saint Joseph stand behind them. The dynamic postures and varied gestures of the figures here denote the influence of Raphael. In the landscape, which owes a debt to Flemish art, Masip depicts the Baptism of Christ, thus adding the forgiving of Origin

Christ between the Virgin and Saint John
Oil on pine panel. 1475 - 1480
Cruz, Diego de la
Christ between the Virgin and Saint John
Oil on pine panel. 1475 - 1480
Cruz, Diego de la

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.

The Andrians
Oil on canvas. 1523 - 1526
Titian (Tiziano Vecellio)
The Andrians
Oil on canvas. 1523 - 1526
Titian (Tiziano Vecellio)

Having delivered the Bacchus and Ariadne in 1523 Titian then painted The Andrians, also inspired by Philostratus (Imagines I, 25). The scene is set on the island of Andros, a place so favoured by Bacchus that a stream flows with wine. Gods, men and children unite in the celebration of the effects of wine, whose consumption, in Philostratus´ words, makes men rich, dominant, generous to their friend

Christ of Mercy between the Prophets David and Jeremiah
Mixed method on panel. 1495 - 1500
Cruz, Diego de la
Christ of Mercy between the Prophets David and Jeremiah
Mixed method on panel. 1495 - 1500
Cruz, Diego de la

This devotional, eucharistic image was the central panel in the predella of an altarpiece. Christ is depicted as the Man of Sorrows with the crown of thorns and displaying the wounds of his Crucifixion. The texts on the scrolls refer to his Passion. The artist worked in Burgos, in northern Spain, and collaborated with Gil de Siloé, a sculpture by whom is shown in this room.

Giovanni Battista Caselli, Poet from Cremona
Oil on canvas. 1557 - 1558
Anguissola, Sofonisba
Giovanni Battista Caselli, Poet from Cremona
Oil on canvas. 1557 - 1558
Anguissola, Sofonisba

The identification of this elderly gentleman sitting at a desk in his study is borne out by the inscription on the fore edge of the book he is writing in, which displays the words "rime del casellio". Giovanni Battista Caselli was a poet and medal engraver who enjoyed certain prominence in Cremona during his lifetime, though there is little reliable information about him today. Nevertheless, Casel

Christ on the Way to Calvary
Oil on oak panel. Ca. 1547
Kempeneer, Pieter
Christ on the Way to Calvary
Oil on oak panel. Ca. 1547
Kempeneer, Pieter

Until this donation by Placido Arango in 2015, the Museo del Prado had no paintings by Pieter van Kempeneer, an artist born in Brussels and first documented in Seville in 1537 after a period spent in Italy (Bologna, Venice and Rome). Known as Pedro de Campaña in Spain, Kempeneer remained here until 1563 before returning to his hometown. His oeuvre is characterized by numerous altarpieces an

The Crucifixion with Saints and Donors
Oil on panel. Ca. 1475
Goes, Hugo Van Der (Circle Of)
The Crucifixion with Saints and Donors
Oil on panel. Ca. 1475
Goes, Hugo Van Der (Circle Of)

This panel depicts the Crucifixion with Christ on the cross, the Virgin Mary and Saint John. Flanking them are Saints Jerome, James the Apostle, Mary Magdalene and Catherine, accompanied by the donor’s extensive family. The background landscape includes a view of Jerusalem, shown as a Flemish city of the artist’s period. The anonymous painter reveals a detailed knowledge of the works produced in G

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