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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
Con la adquisición en 2008 de la tabla Sagrada Familia con ángel músico (P08009), el Museo del Prado completa el tríptico del Maestro de Francfort, que perteneció al convento dominico de Santa Cruz de Segovia, del que ya poseía las dos tablas laterales (P01941 y P01942). Cuando Ponz visitó este convento en la década de 1770, sus tres tablas aún no se habían separado. En mayo de 1836, cuando Castel
This triptych makes use of a traditional compositional scheme and iconography, with the principal scene in the central panel. However, the volumetric treatment of the figures reflects new Italian influences. This innovatory approach is also evident in the architectural background to the Holy Family, in which the habitual Gothic tracery is replaced by elements characteristic of of the new Mannerist
Peter Paul Rubens, the Flemish Baroque artist, was also a humanist scholar, art collector, and diplomat. In 1628, Rubens went to Madrid to meet with Philip IV, King of Spain (1621-1665), as part of his efforts to negotiate a peace treaty between Spain and England, and during his stay the Flemish artist painted, among other subjects, portraits of the Spanish royal family. A patron of the arts, Phil
This triptych makes use of a traditional compositional scheme and iconography, with the principal scene in the central panel. However, the volumetric treatment of the figures reflects new Italian influences. This innovatory approach is also evident in the architectural background to the Holy Family, in which the habitual Gothic tracery is replaced by elements characteristic of of the new Mannerist
The artist of this panel is traditionally referred to as the Master of the Luna Family, whom Post first identified in 1933 as one of the two painters who produced the altarpiece for the chapel of Saint James the Apostle in Toledo Cathedral, founded by Don Álvaro de Luna. It was the latter`s daughter, María de Luna, Duchess of El Infantado, who contracted the altarpiece on 21 December
During his lifetime, one of Luca Giordano’s most admired qualities was his ability to emulate the style of some of the great Renaissance masters. This Holy Family was painted as an exercise in imitating the pictorial language of Raphael Sanzio de Urbino (1483-1520). Giordano’s work borders on forgery in its inclusion on the right of the anagram RSU in the manner of a signature.
These panels (P02838, P02839, P02840), along with a fourth one in a private collection, illustrate the Story of Nastagio degli Onesti, the eighth novel of the fifth day of Boccaccio´s Decameron. This is the story of Nastagio, a young man from Ravenna who was rejected by the daughter of Paolo Traversari and abandoned the city to settle on its outskirts. This first panel shows Nastagio taking leave
These panels (P02838, P02839, P02840), along with a fourth one in a private collection, illustrate the Story of Nastagio degli Onesti, the eighth novel of the fifth day of Boccaccio´s Decameron. This is the story of Nastagio, a young man from Ravenna who was rejected by the daughter of Paolo Traversari and abandoned the city to settle on its outskirts. In the second Panel, Nastagio runs away in fr
These panels (P02838, P02839, P02840), along with a fourth one in a private collection, illustrate the Story of Nastagio degli Onesti, the eighth novel of the fifth day of Boccaccio´s Decameron. This is the story of Nastagio, a young man from Ravenna who was rejected by the daughter of Paolo Traversari and abandoned the city to settle on its outskirts. The third panel shows the guests´ reaction to
The cycle of monochrome frescoes of the Story of St John the Baptist and Four Virtues, which del Sarto painted in the cloister of the Compagnia dello Scalzo, Florence, occupied the painter for about fifteen years, a period that covers nearly his entire activity as a painter. It is now generally thought that the project was started around 1509, with the painting of the Baptism of Christ, and finish
Formerly placed as after Raphael (1483-1520). The design may reflect a composition originating from the artist´s circle.
Schiaminossi was a Tuscan engraver and painter and a follower of Raphael (1483-1520) and the Sienese Ventura Salimbeni (1568-before of 1613). The style of this drawing seems however to be Roman, from the circle of the Zuccari, and is somewhat suggestive of that of Avanzino Nucci (1551-1629) and Giovanni Alberti (1558-1601).
Domenico Alfani, an Umbrian associate of Raphael (1483-1520) in Perugino´s studio, remains something of an unknown quantity as a draftsman. Judging from the influences of Domenico Ghirlandaio (1449-1494) and Filippo Lippi (c. 1457-1504), the present drawing –which is only modest in quality and appears to be a copy- seems to reflect a late fifteenth-century Florentine prototype.
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
