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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 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

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 Holy Family with Saint Anne
Oil on canvas. Ca. 1630
Rubens, Peter Paul
The Holy Family with Saint Anne
Oil on canvas. Ca. 1630
Rubens, Peter Paul

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

Queen Isabella the Catholic
Oil on panel. Ca. 1490
Anonymous
Queen Isabella the Catholic
Oil on panel. Ca. 1490
Anonymous

This portrait of Isabella I of Castile (1451-1504) is one of the earliest known depictions of the Catholic Queen, shown wearing a jewel she received from her father in a clear reference to dynastic continuity. The panel was painted in the Low Countries or possibly in Britain, where it is documented at a very early date. Given that Isabella never left Spain, it must have been painted from models or

Saint John the Baptist
Oil on panel. 1490 - 1495
Anonymous
Saint John the Baptist
Oil on panel. 1490 - 1495
Anonymous

The Virgin and Child
Fresco painting on mural transferred to canvas. Ca. 1495
Antoniazzo Romano (Antonio Di Benedetto Aquili)
The Virgin and Child
Fresco painting on mural transferred to canvas. Ca. 1495
Antoniazzo Romano (Antonio Di Benedetto Aquili)

This is part of a fresco originally in the church of San Giacomo degli Spagnoli in Rome, from where it was removed from the wall just before 1907, the year it entered the Prado with an attribution to Baldassare Peruzzi. It is in fact by Antoniazzo Romano, a painter greatly in demand from the Spanish community in Rome due to his skillful fusion of Renaissance pictorial innovations with the devotion

Saint John the Evangelist
Oil on panel. 1490 - 1495
Anonymous
Saint John the Evangelist
Oil on panel. 1490 - 1495
Anonymous

The Preaching of Saint John the Baptist
Mixed method on panel. 1490 - 1500
Segovia, Juan de
The Preaching of Saint John the Baptist
Mixed method on panel. 1490 - 1500
Segovia, Juan de

The Master of Miraflores is the author of the six panels (P705–P710) dedicated to the Baptist from the Burgos Charterhouse. In these works, he depicts simplified volumes and figures immersed in thought according to the style of Petrus Christus or Dirk Bouts.

The Beheading of Saint John the Baptist
Oil, Tempera on panel. 1490 - 1500
Segovia, Juan de
The Beheading of Saint John the Baptist
Oil, Tempera on panel. 1490 - 1500
Segovia, Juan de

The panel shows three different scenes: in the distance on the left Salome’s dance, and on the right Salome is giving Herodias the Baptist’s head. In the foreground the beheading has already taken place: the executioner is placing John’s head on the platter that Salome is holding. The work comes from the Charterhouse in Miraflores, together with five other panels (P00705-P00710).

The Transfer of the Body of Saint James the Greater at the Palace of Queen Lupa
Mixed method on panel. 1480 - 1490
Bernat, Martín
The Transfer of the Body of Saint James the Greater at the Palace of Queen Lupa
Mixed method on panel. 1480 - 1490
Bernat, Martín

After being brought to Iria, in Galicia, by boat -the scene visible in the background of the painting- Saint James’s body was carried in a cart pulled by two bulls. In this painting, Athanasius and Theodore, James’s disciples, walk behind the cart, dressed as pilgrims, while Queen Lupa watches the procession, astonished to see that the wild bulls she sent have been tamed. This painting and P02668

The Baptism of Christ
Mixed method on panel. 1490 - 1500
Segovia, Juan de
The Baptism of Christ
Mixed method on panel. 1490 - 1500
Segovia, Juan de

The Master of Miraflores is the author of the six panels (P00705–P00710) dedicated to the Baptist from the Burgos Charterhouse. In these works, he depicts simplified volumes and figures immersed in thought in the style of Petrus Christus or Dirk Bouts.

The Visitation
Oil, Tempera on panel. 1490 - 1500
Segovia, Juan de
The Visitation
Oil, Tempera on panel. 1490 - 1500
Segovia, Juan de

The anonymous artist of the six panels (P-705–P710) dedicated to John the Baptist that come from the charterhouse in Burgos is known as the Maestro de Miraflores. The paintings are characterised by simplified volumes and figures who seem to be lost in thought, recalling those of Petrus Christus or Dirk Bouts.

The Birth of Saint John the Baptist
Oil, Tempera on panel. 1490 - 1500
Segovia, Juan de
The Birth of Saint John the Baptist
Oil, Tempera on panel. 1490 - 1500
Segovia, Juan de

The painting shows a luxurious domestic interior. The window at the far end contains a stained glass scene of the Anunciation, an allusion to Christ’s incarnation. The Virgin Mary receives the baby Saint John from his mother Elizabeth in the presence of Zachariah. The work comes from the Charterhouse in Miraflores, together with five other panels (P705-P710).

The Arrest of Saint John the Baptist
Oil, Tempera on panel. 1490 - 1500
Segovia, Juan de
The Arrest of Saint John the Baptist
Oil, Tempera on panel. 1490 - 1500
Segovia, Juan de

The scene represented in this painting is not one that is usually depicted, and it is of a very similar composition to scenes showing the arrest of Christ, whose precursor John was. The difference is the setting, which here is an urban location. The work comes from the Charterhouse in Miraflores, together with five other panels (P-705–P710).

The Nativity
Oil on panel. 1490
Osona, Rodrigo de; Osona, Francisco de
The Nativity
Oil on panel. 1490
Osona, Rodrigo de; Osona, Francisco de

The Virgin Mary and Saint Joseph kneel in prayer beside the newborn Jesus. They are accompanied by three angels who arrange the Child´s swaddling clothes. Three Shepherds look in from outside the ruins of the doorway. An ox and a mule occupy the background. The idyllic landscape and the architecture typical of northern European cities, as well as the composition, bluish-grey color scheme and hiera

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