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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
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 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
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.
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.
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 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
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
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 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).
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 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 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 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 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 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
