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The Annunciation
Oil on panel. XVI century
Anonymous
The Annunciation
Oil on panel. XVI century
Anonymous

The Annunciation
Oil on panel. 1501 - 1535
Picardo, León
The Annunciation
Oil on panel. 1501 - 1535
Picardo, León

June (Cancer)
Oil on canvas. S XVI - XVII century
Bassano, Francesco
June (Cancer)
Oil on canvas. S XVI - XVII century
Bassano, Francesco

Although there is no extant set of the twelve months of the year painted by Jacopo, it is possible that he invented this series. Certainly, the inventory taken in Bassano del Grappa following his death in 1592 mentions sketches of the twelve months from January to December (two different versions of some, such as May and June), and a further seven of unspecified months. In 1648, Ridolfi referred t

Earthly Paradise
Oil on canvas. XVI century
Bassano (Workshop Of)
Earthly Paradise
Oil on canvas. XVI century
Bassano (Workshop Of)

This is a painting of rather mediocre quality for which the artists drew on several ricordi from the stock at the family bottega. To cite an example, the horse and pair of dogs on the right specifically repeat the ones that appear in a similar position in Adam Being Reprimanded (P21). This juxtaposition of standardised models explains the obvious problems of scale in the depiction of the animals,

Portrait of a Knight of the Order of Santiago
Oil on panel. XVI century
González, Bartolomé
Portrait of a Knight of the Order of Santiago
Oil on panel. XVI century
González, Bartolomé

Ha figurado como obra de Alonso Sánchez Coello. Repite el retrato, fechado en 1558, del Museo de Budapest, que se atribuye a Antonio Moro. Para su identificación se han barajado diversos nombres, ninguno de ellos de manera convincente.

May (Gemini)
Oil on canvas. S XVI - XVII century
Bassano, Francesco
May (Gemini)
Oil on canvas. S XVI - XVII century
Bassano, Francesco

Although there is no extant set of the twelve months of the year painted by Jacopo, it is possible that he invented this series. Certainly, the inventory taken in Bassano del Grappa following his death in 1592 mentions sketches of the twelve months from January to December (two different versions of some, such as May and June), and a further seven of unspecified months. In 1648, Ridolfi referred t

The Adoration of the Magi
Oil on canvas. XVI century
Titian (Tiziano Vecellio)
The Adoration of the Magi
Oil on canvas. XVI century
Titian (Tiziano Vecellio)

The Extraction of the Stone of Madness
Oil on oak panel. 1501 - 1505
Bosch, Hieronymus
The Extraction of the Stone of Madness
Oil on oak panel. 1501 - 1505
Bosch, Hieronymus

In the centre of a rectangular surface Bosch incised a circle in which he depicted this scene of Extracting the stone of madness. The resulting image is a mirror that offers a reflection of folly and human madness, located in a rural world remote from that of the nobility and urban life, hence the setting in the countryside in an open landscape. As found in miniature painting of the time, the arti

July (Leo)
Oil on canvas. S XVI - XVII century
Bassano, Francesco
July (Leo)
Oil on canvas. S XVI - XVII century
Bassano, Francesco

Although there is no extant set of the twelve months of the year painted by Jacopo, it is possible that he invented this series. Certainly, the inventory taken in Bassano del Grappa following his death in 1592 mentions sketches of the twelve months from January to December (two different versions of some, such as May and June), and a further seven of unspecified months. In 1648, Ridolfi referred t

The Adoration of the Shepherds
Oil on panel. First third of the XVI century
Romano, Giulio (Giovanni Francesco Penni); Penni, Giovanni Francesco
The Adoration of the Shepherds
Oil on panel. First third of the XVI century
Romano, Giulio (Giovanni Francesco Penni); Penni, Giovanni Francesco

Saints Gregory, Sebastian and Tirso
Oil on panel. XVI century
Borgoña The Younger, Juan de
Saints Gregory, Sebastian and Tirso
Oil on panel. XVI century
Borgoña The Younger, Juan de

Saint Gregory appears on the left with a tiara and crozier; Saint Sebastian in the middle, and Saint tirso on the right, with an inscription at his feet. Catalogued by Manuel Gómez Moreno (1929) as a work from the first third of the 16th century by an anonymous artist from the Burgundian school; it appears in the 1985 catalog as a work from the first third of the 16th century by an anonymou

The Temptations of Saint Anthony
Oil on oak panel. XVI century
Bosch, Hieronymus (Copy)
The Temptations of Saint Anthony
Oil on oak panel. XVI century
Bosch, Hieronymus (Copy)

El santo arrebatado en los aires por demonios y, en tierra, rodeado de monstruos grotescos. Es copia reducida con algunas variantes, como P2051, de una portezuela del tríptico de Lisboa.

September (Libra)
Oil on canvas. S XVI - XVII century
Bassano, Francesco
September (Libra)
Oil on canvas. S XVI - XVII century
Bassano, Francesco

Although there is no extant set of the twelve months of the year painted by Jacopo, it is possible that he invented this series. Certainly, the inventory taken in Bassano del Grappa following his death in 1592 mentions sketches of the twelve months from January to December (two different versions of some, such as May and June), and a further seven of unspecified months. In 1648, Ridolfi referred t

The Holy Family with a Lamb
Oil on panel. 1507
Raphael (Raffaello Sanzio)
The Holy Family with a Lamb
Oil on panel. 1507
Raphael (Raffaello Sanzio)

In 1504, after training with Perugino, Raphael moved from Perugia to Florence, where he remained for four years to absorb the work of Leonardo and Michelangelo. His gradual mastery of classicism is visible in a series of Madonne that constitute a delicate series of variations on the subject of motherly love. One of these is the Holy Family of the Lamb, which is based on a preparatory drawing by Le

The Descent from the Cross
Oil on panel. XVI century
Macip Comes, Vicente Juan
The Descent from the Cross
Oil on panel. XVI century
Macip Comes, Vicente Juan

Fortune
Oil on canvas. 1636 - 1638
Rubens, Peter Paul (And Workshop)
Fortune
Oil on canvas. 1636 - 1638
Rubens, Peter Paul (And Workshop)

In the autumn of 1636, Peter Paul Rubens was commissioned by agents of Philip IV to produce his largest series of painted canvases to decorate the recently completed hunting lodge at El Pardo, near Madrid -the Torre de la Parada. Documents reveal that he was already at work by December. His main assignment comprised some sixty mythological subjects and individual figures, chiefly drawn from Ovid´s

The penitent Saint Jerome
Oil on panel. XVI century
Anonymous
The penitent Saint Jerome
Oil on panel. XVI century
Anonymous

Portrait of a Woman (Agnese, the painter’s sister-in-law?)
Oil on unlined canvas. 1525 - 1530
Licinio, Bernardino
Portrait of a Woman (Agnese, the painter’s sister-in-law?)
Oil on unlined canvas. 1525 - 1530
Licinio, Bernardino

Modigliani identified the sitter as Agnese, the painter’s sister-in-law, through her resemblance to the woman who appears in the Portrait of Arrigo Licinio and his Family (Rome, Galleria Borghese, inv. 115). As that painting is datable to around 1540, the present work must have been executed between 1525 and 1530 as Agnese here appears considerably younger than in the Rome portrait, by which point

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