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Forma parte de un conjunto de cuatro sargas que procedían probablemente, de la Iglesia de Santo Tomás. Temáticamente distribuidas por parejas, dos de ellas representan a San Pablo (P123) y, ésta de Sa [+]
On a number of occasions, Peter Paul Rubens partially overpainted finished pictures. He did this to paintings by his own hand, such as Nymphs and Satyrs (P1666), which he retouched and enlarged twenty [+]
The painting is the central panel of the altarpiece of Saint Peter Martyr from the Convent of Santo Tomás in Avila, together with four other panels in the Museum (P-611-614). The saint is ident [+]
In response to Satan’s attacks on the early Dominicans, a procession is established in honour of the Virgin in which the "Salve Regina" is sung. In this panel, which was executed for the altarpiece of [+]
This is one of a group of four tempera paintings on canvas twill probably from the church of Santo Tomás in Avila. The four are thematically grouped in two pairs, one with depictions of saints [+]
A Pietà made by this Neapolitan painter during his stay in Madrid (1753-1763). The group of Christ and the angel holding him corresponds to the fresco of the Holy Trinity in the chapel at Madri [+]
This is one of a set of panels (P00611, P00612, P00614 y P00617) from Saint Thomas in Avila, where they were very likely part of an altarpiece dedicated to Saint Peter, the Martyr of Verona. It origin [+]
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 [+]
Philip IV called this painting The Pearl, as it was his favorite among all those in his collection. The composition was designed by Raphael but part of the execution was delegated to his pupil Giulio [+]
Traditionally given to Polidoro da Caravaggio (c. 1499-ca. 1543). The figure´s pose and the handling of the media suggest the work of an artist from the circle of Taddeo Zuccaro (1529-1566). Especial [+]
This weak copy is after one of the biblical scenes in the Vatican Logge. Raphael, assited by his pupils Giulio Romano (c. 1499-1546), Giovanni Francesco Penni (1496-c. 1536), Perino del Vaga (1501-154 [+]
The correct attribution to India, also a painter from Verona and one of a number of local followers of Veronese (1528-1588), is Alessandro Ballarin´s. India worked almost exclusively in and around his [+]
This appears to reflect a sixteenth-century prototype designed by an artist such as Giulio Romano (c. 1499-1546) or Francesco Salviati (c. 1520 - c. 1575). [+]
This impressive study typifies the lively, decorative style that was in vogue in Rome during the closing years of the sixteenth century and is associable with the movement generally referred to as Lat [+]
Farinati was one of the most prolific draftsmen active in Verona in the second half of the sixteenth century. His pictorial approach to drawing -many of his studies are carried out largely with the br [+]
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 Ev [+]
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