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The Virgin nursing the Child
Mixed method on panel. Ca. 1490
Master Bartolomé
The Virgin nursing the Child
Mixed method on panel. Ca. 1490
Master Bartolomé

A devotional work that shows the Virgin against a delicate gold background. A window sill inscribed with the signature and a fragment of the mantle establish a realist caesura with the gaze of the viewer-worshipper. For this work, destined for private contemplation in a domestic setting, Master Bartolomé made use of a technical refinement that differs from his characteristically stark expre

The Painter Martin Ryckaert
Oil on panel. Ca. 1631
Dyck, Anthony Van
The Painter Martin Ryckaert
Oil on panel. Ca. 1631
Dyck, Anthony Van

The famous Flemish painter is portrayed almost full-length, sitting in a chair and wearing red robes and a fur coat. This landscape painter and contemporary of Van Dyck had no left arm, which is clearly shown, rather than hidden, in this portrait. In keeping with the Northern tradition of portraiture established by Anthonis Mor (1519-1576) and Adriaen Willem Key (1515/1520 - 1568), Van Dyck places

The Lamentation over the Dead Christ
Oil on panel. Ca. 1490
Master Of The Virgo Inter Virgines
The Lamentation over the Dead Christ
Oil on panel. Ca. 1490
Master Of The Virgo Inter Virgines

The artist, a follower of Geertgen tot sins Jans (1445/65-1485/95), approached Passion subjects with intense drama. In order to achieve strong expressions, he does not hesitate to deliberately distort the faces of the figures. The Virgin, kneeling and supported by Saint John, shows her pain before the dead Christ who lies on the ground.

Saint Michael the Archangel
Mixed method on panel. 1475 - 1485
Ximénez, Miguel
Saint Michael the Archangel
Mixed method on panel. 1475 - 1485
Ximénez, Miguel

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

Saint John the Baptist and a Donor
Oil on panel. 1480 - 1485
Cruz, Diego de la
Saint John the Baptist and a Donor
Oil on panel. 1480 - 1485
Cruz, Diego de la

The painter of this work was a collaborator of the sculptor Gil de Siloe and was familiar with Northern art. John the Baptist, recognisable by his clothing and by the lamb on the book, has been painted with great care. The use of strong light to emphasise his bulk is influenced by Van Eyck. On a smaller scale, on the right, is the donor, a cistercian nun. The painting probably comes from a Cisterc

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

The Assumption of the Virgin
Mixed method on panel transferred to canvas. Ca. 1490
Maestro de las Once Mil Vírgenes
The Assumption of the Virgin
Mixed method on panel transferred to canvas. Ca. 1490
Maestro de las Once Mil Vírgenes

The Saviour
Oil on panel. Late XV century
Bellini, Giovanni (Workshop Of)
The Saviour
Oil on panel. Late XV century
Bellini, Giovanni (Workshop Of)

A bust of Christ, dressed in purple and with the holy halo. He appears as the Savior of Humanity over a dark background. This is a replica of a work by the same name signed by Giovanni Bellini (“IOANNES BELLINUS”), which dates from around 1495 and is now at the Royal Academy of Fine Arts of San Fernando in Madrid. A preparatory drawing for it is at the British Museum in London. The composition mus

Scenes from the Life of Saint Antony Abbot
Oil on panel. Ca. 1490
Abadía el Viejo, Juan de la
Scenes from the Life of Saint Antony Abbot
Oil on panel. Ca. 1490
Abadía el Viejo, Juan de la

During his ascetic retreat to the desert, Saint Antony was subjected to numerous temptations by the devil. On one occasion, the devil disguised himself as a seductive woman in order to draw him into the sin of lust. On another, the Egyptian monk was violently tormented by a group of demonic creatures, represented here with different shapes and colours, as often requested by clients.

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

Predella with the Resurrection of Christ
Mixed method on panel. 1475 - 1485
Ximénez, Miguel
Predella with the Resurrection of Christ
Mixed method on panel. 1475 - 1485
Ximénez, Miguel

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

Pietà
Oil on panel. 1565 - 1570
Morales, Luis de
Pietà
Oil on panel. 1565 - 1570
Morales, Luis de

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

Scenes from The Story of Nastagio degli Onesti
Mixed method on panel. 1483
Botticelli, Sandro
Scenes from The Story of Nastagio degli Onesti
Mixed method on panel. 1483
Botticelli, Sandro

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

The Virgin of the Catholic Monarchs
Mixed method on panel. 1491 - 1493
Master Of The Virgin Of The Catholic Monarchs
The Virgin of the Catholic Monarchs
Mixed method on panel. 1491 - 1493
Master Of The Virgin Of The Catholic Monarchs

The Virgin Mary, with the Christ Child on her lap, is worshiped by the Catholic Kings, Isabel (1451-1504) and Fernando (1452-1516), two of their children, and others. On the right of the composition, accompanying the Queen, are Saint Dominic, one of the Queen´s daughters and a kneeling male figure without a halo. The sword on his chest implies martyrdom, and he has been associated with Pedro de Ar

Pontius Pilate Washing his Hands
Oil on panel. Ca. 1490
Osona, Rodrigo de; Osona, Francisco de
Pontius Pilate Washing his Hands
Oil on panel. Ca. 1490
Osona, Rodrigo de; Osona, Francisco de

This and five other panels at the Prado Museum (P06897, P06899, P06900, P06901, P06902), are some of the finest examples of the collaboration between Rodrigo and Francisco de Osona. They were probably designed as part of an altarpiece. The placement and physiognomy of the figures are in keeping with the style of this family of painters from Valencia. The diverse treatment of the paintings suggests

Scenes from the Story of Nastagio degli Onesti
Mixed method on panel. 1483
Botticelli, Sandro
Scenes from the Story of Nastagio degli Onesti
Mixed method on panel. 1483
Botticelli, Sandro

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

The Virgin and Child between Mary Magdalene and Saint Ursula
Oil on panel. Ca. 1490
Bellini, Giovanni (And Workshop)
The Virgin and Child between Mary Magdalene and Saint Ursula
Oil on panel. Ca. 1490
Bellini, Giovanni (And Workshop)

The Virgin holds the Christ Child in her arms, flanked by two saints in a Sacra Conversazione. The saint on the left has been identified as Mary Magdalene and the one on the right as either Saint Ursula, carrying the arrow of her martyrdom. Expect for the figure of the Child, the others are represented in three-quarters with green curtains in the background. This work belonged to the collection of

The Lamentation
Mixed method on panel. Ca. 1490
Master Of The Luna Family
The Lamentation
Mixed method on panel. Ca. 1490
Master Of The Luna Family

This painting is a slight variation of the central panel in the predella of the Don Álvaro de Luna Altar Piece which is in the Toledo cathedral (doc. 1488). Mary, helped by Saint John and Nicodemus, is in front of the cross holding her dead son. Joseph of Arimathea, Mary Magdalene and two Marys also show their sorrow. This painting is a pair with The Virgin of Milk (P-1289).

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