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This triptych is the principal creation and the work that has given the name to an anonymous follower of Rogier van der Weyden, previously identified as Vrancke van der Stockt. The triptych belonged t [+]
Con la adquisición en 2008 de la tabla Sagrada Familia con ángel músico (P08009), el Museo del Prado completa el tríptico del Maestro de Francfort, que perteneció al convento dominico de Santa Cruz de [+]
This work was first recorded in 1641 as a work by Titian belonging to the Duke of Medina de las Torres in Naples. It was, however, attributed to Giorgione for centuries until Wilhelm Schmidt again att [+]
Este lienzo es una de las obras fundamentales de la pintura del Romanticismo español, así como el primer cuadro importante de este género realizado por Federico de Madrazo a lo largo de su fecundísima [+]
This painter is one of the most outstanding and singular representatives of the early Renaissance in Palencia. While there are no extant documents to prove it, this work must somehow be connected with [+]
This triptych makes use of a traditional compositional scheme and iconography, with the principal scene in the central panel. However, the volumetric treatment of the figures reflects new Italian infl [+]
John Frederick I of Saxony (Torgau, 30 June 1503–Jena, 3 March 1554), Duke of Saxony-Wittenberg from 1532, was the principal defender of Luther, a fact that brought him into conflict with Charles V. I [+]
This triptych makes use of a traditional compositional scheme and iconography, with the principal scene in the central panel. However, the volumetric treatment of the figures reflects new Italian infl [+]
The portraits that Titian painted of Isabella (1503-1539), daughter of King Manuel of Portugal and wife of Charles V from 1526, constitute one of the most moving episodes within Renaissance art. When [+]
This portrait commemorates Charles V’s victory over the Schmalkaldic League at Mühlberg on 24 April 1547. The Emperor is equipped in the manner of the light cavalry with a half pike and wheel-loc [+]
Having trained in Venice, probably with Giovanni Bellini, Lorenzo Lotto worked in Treviso (1503-1506), Recanati (1506- 1508) and Rome (c. 1508-1510) before settling in Bergamo.There, between 1513 and [+]
This is Rosales’s last history painting, which was left unfinished on his death. It reveals his working method, which is relatively free in this case. The retinue of Joan of Castile, who is anxious to [+]
According to an inscription on the reverse of the old inlay, the former attribution was to Parmigianino. John A. Gere was the first to propose Polidoro´s authorship, in 1981, in a note on the modern m [+]
This is the companion to the drawing D01646. The execution of the hands and hair is especially characteristic of Ludovico Carracci´s style. [+]
The former attribution to Parmigianino (1503-1540) is untenable. The style suggest knowledge of the work of both Pellegrino Tibaldi (1527-1596) and Samacchini (1532-1577). [+]
There are old attributions on the reverse of the mount to Parmigianino (1503-1540) and Nicolò dell´Abate (1509/12-1571). However, the elongated figure and the flowing pen work point in the dire [+]
Although traditionally attributed to Parmigianino (1503-1540), the style seems to suggest a later period, around 1600. The draftsman appears to have been acquainted with the work of Bartolomeo Cesi (1 [+]
In her 1983 catalogue, Mena Marques rightly brought attention to the very high quality of this drawing and suggested the style could be Sienese, from the end of the sixteenth century and the beginning [+]
