Loading...
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 [+]
This is the central panel of the Altar piece of Saint Dominic, brought -with three other paintings in the Prado (P609, P610 and P615)- from the Convent of Santo Tomás in Ávila, the headq [+]
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 (P611, 614). The three altarpie [+]
The three altarpieces installed in the chancel of Santo Tomás in Ávila had a similar composition: a central panel with the image of the titular saint flanked by four lateral panels, two [+]
This is the central panel of the Altar piece of Saint Dominic, brought -with three other paintings in the Prado (P609, P610, P616)- from the Convent of Santo Tomás in Ávila, the headquar [+]
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 [+]
On a portable rostrum, Saint Dominic and six other judges preside over the auto-da-fe in which some Albigensian heretics are being judged, representing a well-known episode in his biography. Beside hi [+]
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 Adorat [+]
This is one of a set of panels (P612, P613, P614 y P617) from Santo Tomás in Avila, where they were very likely part of an altarpiece dedicated to Saint Peter, the Martyr of Verona. It original [+]
This is a panel of the Altar piece of Saint Dominic, brought -with three other paintings in the Prado (P610, P615, P616)- from the Convent of Santo Tomás in Ávila, the headquarters of th [+]
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 [+]
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 the central panel of the Altar piece of Saint Dominic, brought -with three other paintings in the Prado (P609, P615, P616)- from the Convent of Santo Tomás in Ávila, the headquar [+]
This is one of a set of panels (P00611, P00612, P00614 y P00617) from Santo Tomás in Avila, where they were very likely part of an altarpiece dedicated to Saint Peter, the Martyr of Verona. It [+]
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 [+]
This is one of a set of panels (P611, P612, P613 y P617) from Santo Tomás in Avila, where they were very likely part of an altarpiece dedicated to Saint Peter, the Martyr of Verona. It original [+]
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 [+]
