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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

Christ Blessing
Mixed method on panel. 1494 - 1496
Gallego, Fernando
Christ Blessing
Mixed method on panel. 1494 - 1496
Gallego, Fernando

On his throne, wearing a red tunic and holding the globe of the World in his left hand, Christ offers his blessing with his right. He is flanked by figures representing the Church and the Synagogue and surrounded by the Tetramorph. Christ is presented as the Savior of the world in this work that contrasts the figure of the Synagogue, with Moses’s tablets and a torn banner; and the figure of the Ch

Pilate washing his Hands
Oil on copperplate. After 1655
Giordano, Luca
Pilate washing his Hands
Oil on copperplate. After 1655
Giordano, Luca

Esta pintura ha sido relacionada con Durero (1471-1528) y con Lucas de Leiden (1494-1533). Supone un sobresaliente ejercicio de estilo que manifiesta su atenta observación de originales alemanes del siglo XV, cuya técnica Giordano intentó imitar. En ella Giordano aplicó una pincelada minuciosa y precisa de trazos cortos que reproducen con rigurosa exactitud el aspecto de los objetos, la incidencia

The Kiss of Judas
Oil on copperplate. After 1655
Giordano, Luca
The Kiss of Judas
Oil on copperplate. After 1655
Giordano, Luca

Esta pintura ha sido relacionada con Durero (1471-1528) y con Lucas de Leiden (1494-1533). Supone un sobresaliente ejercicio de estilo que manifiesta su atenta observación de originales alemanes del siglo XV, cuya técnica Giordano intentó imitar. En ella Giordano aplicó una pincelada minuciosa y precisa de trazos cortos que reproducen con rigurosa exactitud el aspecto de los objetos, la incidencia

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

Triptych of the Adoration of the Magi
Grisaille, Oil on oak panel. Ca. 1494
Bosch, Hieronymus
Triptych of the Adoration of the Magi
Grisaille, Oil on oak panel. Ca. 1494
Bosch, Hieronymus

The theme of this triptych is the advent of salvation -a message about the universality of Redemption. The Eucharistic meaning inherent in the theme of Saint Gregory’s Mass is also found in The Adoration of the Magi in the wheat stored in the upper part of the hut, above the figure of the Antichrist. Unusually, Bosch includes in his depiction of the Mass of Saint Gregory in semi-grisaille seven Pa

Self-portrait
Oil on panel. 1498
Dürer, Albrecht
Self-portrait
Oil on panel. 1498
Dürer, Albrecht

In the same year that he published the Apocalipsis cum figuris, Dürer painted himself as a gentleman, dressed in light toned clothes and looking his best. He wears an open black and white doublet with a striped cap in the same colours, an undershirt trimmed with gold and a silk cord of blue and white threads holding up a grey-brown cloak that falls over his right shoulder. Dürer has shea

Triptych of the Pietà, St John and St Mary Magdalene
Oil on panel. Ca. 1570
Morales, Luis de (And Workshop)
Triptych of the Pietà, St John and St Mary Magdalene
Oil on panel. Ca. 1570
Morales, Luis de (And Workshop)

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

The City Treasurer and his Wife or The Money Changer and his Wife
Oil on panel. 1538
Reymerswale, Marinus Van
The City Treasurer and his Wife or The Money Changer and his Wife
Oil on panel. 1538
Reymerswale, Marinus Van

As part of the Royal Collection, the City Treasurer and his Wife (the so-called Money Changer and his Wife) is one of the few paintings by Marinus in Spain that can be traced to the eighteenth century, and one which played a decisive role in the rediscovery of the painter’s work. However, when it was first recorded in the collection of Isabel Farnesio in 1746 it was attributed to Lucas de Olanda (

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

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

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. The third panel shows the guests´ reaction to

Imprisonment of Francis I
Oil on canvas. Ca. 1825
Migliara, Giovanni
Imprisonment of Francis I
Oil on canvas. Ca. 1825
Migliara, Giovanni

Acquired by Queen Maria Christina of Bourbon for the Royal Collections, the work was sent to the Gallery of Living Artists at the Prado. It shows the King of France after the Battle of Pavia, where he was taken prisoner by Charles V and held at the famous charterhouse in that city before his transfer to Madrid.

Donor Agneese de Gramme protected by Saint Agnes
Oil on oak panel. Ca. 1494
Bosch, Hieronymus
Donor Agneese de Gramme protected by Saint Agnes
Oil on oak panel. Ca. 1494
Bosch, Hieronymus

Winged head of a putto
Pencil on yellow paper. XVI century
Anonymous
Winged head of a putto
Pencil on yellow paper. XVI century
Anonymous

The drawing carries a rather improbable, old attribution to the Florentine painter Domenico Ghirlandaio (1448/49-1494). It is unquestionably later and seems to share some of the stylistic features of the group of drawings here listed under the name of Francesco Villamena (1564-1624).

Saint Luke painting the Virgin
Pencil, Pencil, Grey-brown ink, Wash on dark yellow paper. 1567 - 1572
Vasari, Giorgio
Saint Luke painting the Virgin
Pencil, Pencil, Grey-brown ink, Wash on dark yellow paper. 1567 - 1572
Vasari, Giorgio

This is a preparatory drawing for Vasari´s fresco of St. Luke Painting the Virgin in the Cappella di San Luca in S. Annunziata, Florence. In 1560 the chapel, formerly the Cappella Benizzi, was granted to the sculptor Fra Giovanni Angelo Montorsoli (c. 1507-1563), who had been inducted into the Servite Order at S. Annunziata some three decades earlier. He presented it to his fellow Florentine artis

Nude infant kneeling
Red chalk, Touches of white chalk on dark yellow paper. XVI century
Anonymous
Nude infant kneeling
Red chalk, Touches of white chalk on dark yellow paper. XVI century
Anonymous

It is possible that the drawing could be Florentine, since the child´s head shows some influence of Jacopo Pontormo (1494-1556).

Group of Figures Conversing
Pencil, Grey-brown ink on brown paper. XVI century
Vasari, Giorgio (Attributed To)
Group of Figures Conversing
Pencil, Grey-brown ink on brown paper. XVI century
Vasari, Giorgio (Attributed To)

Florian Härb first suggested the very plausible attribution to Vasari. He pointed out that this is very likely an early work, done when the artist was in the habit of making drawn copies after paintings by others masters. The composition in which the figures appear has not been identified so far, but the elongated figuretypes and distinctive facil features suggest that the work of another Flo

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