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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

Two Magi
Tempera on twill / twill weave canvas. 1493 - 1499
Berruguete, Pedro
Two Magi
Tempera on twill / twill weave canvas. 1493 - 1499
Berruguete, Pedro

The scene of the Adoration of the Magi, which begins with the depiction of the eldest Magus presenting his offering to the Christ Child (P125), is completed with this second one in which the other two Kings wait to present chalices containing the frankincense and myrhh, symbols of the Child’s divinity and his role as mankind’s redeemer. This composition, together with the one that completes the ep

The Adoration of the Shepherds
Oil on oak panel. 1771 - 1772
Mengs, Anton Raphael
The Adoration of the Shepherds
Oil on oak panel. 1771 - 1772
Mengs, Anton Raphael

A group of shepherds surround the Virgin and Child with different expressions of adoration, defining a broad semicircle which includes Saint Joseph, who is seated, and the painter himself, who appears at the left, pointing out the miraculous event. This work is directly inspired by La Notte (Dresden, Gemäldegalerie), a painting on the same subject by Correggio (1493-1534) that was very influe

Adoration of the First Magus
Tempera on twill / twill weave canvas. 1493 - 1499
Berruguete, Pedro
Adoration of the First Magus
Tempera on twill / twill weave canvas. 1493 - 1499
Berruguete, Pedro

This composition, together with the one that completes the episode, showing the other two Magi (P126), was painted to cover the doors of an organ, probably the one in the church of Santo Tomás in Ávila. The oldest Magus kneels before the Virgin and Child while presenting a casket of gold, an offering that symbolises Christ’s royalty. The composition and architecture reveal Berruguete

The Youthful Saint John the Baptist in the Desert
Oil on panel. 1753 - 1754
Mengs, Anton Raphael
The Youthful Saint John the Baptist in the Desert
Oil on panel. 1753 - 1754
Mengs, Anton Raphael

Painted with remarkable delicacy, probably from life, in this panel Mengs captures the artless fascination with which the saint presents to the world the message of the Redeemer’s arrival, inscribed on the scroll. The figure’s soft luminosity reveals the influence of Correggio (1493-1534), which was decisive for the early years of Mengs’s Roman period.

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

Saint Gregory
Mixed method on panel. Ca. 1500
Nalda, Juan de
Saint Gregory
Mixed method on panel. Ca. 1500
Nalda, Juan de

The painter, of Riojan origin, completed his artistic formation with Jean Changenet in Avignon (doc. 1493). When he returned to Castile he worked in Palencia and Burgos. The simplification of volumes in his work and the importance given to light show the influence of Provencal art. Besides the sculptural image of the bishop and saint, there is a striking contrast between the realist design of the

Standing Nude Man
Pencil, Pencil ground, Grey-brown ink on dark toned paper. XVI century
Passerotti, Bartolomeo
Standing Nude Man
Pencil, Pencil ground, Grey-brown ink on dark toned paper. XVI century
Passerotti, Bartolomeo

Past collectors commonly mistook Passerotti’s academic studies from the nude for the work of the Florentine Bandinelli (1493-1560). The handling of this drawing is after him in this technique in the Museo del Prado collections.The feeble outline study in pen and ink drawn on the verso, showing the recto figure in the same pose but from the front, is by a later, weaker hand.

The Virgin enthroned with the Christ Child
Alabaster. 1490 - 1500
Siloé, Gil de
The Virgin enthroned with the Christ Child
Alabaster. 1490 - 1500
Siloé, Gil de

This exceptionally fine sculpture is almost identical to the Virgin of the Choir from the Charterhouse of Miraflores (Burgos). The Virgin enthroned and crowned as Queen of Heaven appears as the new Eve, active in man’s redemption after the original sin of Adam and Eve, who are depicted on the arms of the throne. Gil de Siloé was the principal sculptor at the court of Queen Isabel la Cat&oac

Emperor Carlos V and the Fury
Bronze. 1551 - 1555
Leoni, Leone; Leoni, Pompeo
Emperor Carlos V and the Fury
Bronze. 1551 - 1555
Leoni, Leone; Leoni, Pompeo

In 1549 in Brussels Charles V commissioned Leone Leoni to execute a group of statues of himself and his deceased wife the Empress Elizabeth of Portugal.They were to be in different formats (bust and half-length) and materials (marble and bronze).The most famous is Charles V and the Fury due to its conceptual and artistic importance and complexity.This was the first monumental sculpture by Leoni an

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