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The painting is a copy with variations of an original by Jan van Eyck (Turin Museum). It is vertical in format instead of horizontal and has a landscape adapted to the taste of the period. The lower h [+]
This and five other panels at the Prado Museum (P06897, P06899, P06900, P06901, P06902), are some of the finest examples of the collaboration between Rodrigo and Francisco de Osona. They were probably [+]
This and five other panels at the Prado Museum (P06897,P06898 , P06899, P06901, P06902), are some of the finest examples of the collaboration between Rodrigo and Francisco de Osona. They were probably [+]
This and five other panels at the Prado Museum (P06897, P06898, P06900, P06901, P06902), are some of the finest examples of the collaboration between Rodrigo and Francisco de Osona. They were probably [+]
Dürer made this panel and its companion, Eve (P02178) upon returning from his second trip to Italy in 1505. Both works constitute an effort to synthesize what he had learned there, in search of a [+]
This is one of Bernat’s early works and is very similar to the work of Bermejo in the anatomy, colour and slim proportions of the figures in it -Saint John, the Magdalene, Longinus- as well as the lit [+]
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 [+]
Two banderoles, one above and the other below the central circle, contain Latin texts from Deuteronomy (32: 28-29 and 20), warning against the wages of sin. The upper banderole, between the tondos of [+]
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This is the right wing of the Genealogy of the Virgin altarpiece which the Count of Barajas donated to Philip II, according to the inventory of the Alcazar of Madrid of 1600. On the reverse, Saint Ber [+]
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 [+]
The Descent from the Cross was painted for the Chapel of Our Lady Outside the Walls at Leuven, which was founded in the fourteenth century by the Great Crossbowmen`s Guild, sold in 1798 and demolished [+]
The panel shows the moment when several angels shatter the spiked wheels on which Catherine of Alexandria was to have been torn into pieces after having rejected the advances of Emperor Maxentius and [+]
This and five other panels at the Prado Museum (P06897, P06898, P06899, P06900, P06902), are some of the finest examples of the collaboration between Rodrigo and Francisco de Osona. They were probably [+]
The literary source for the Furies is Ovid´s Metamorphoses (IV, 447-464) and Virgil´s Aeneid (VI, 457-8), which recounts the eternal sufferings in Hades of Tityus, whose liver was devoured by a vultur [+]
This panel formed part of an altar dedicated to St Anne at Badajoz Cathedral. Commissioned by the bishop at that time, Juan de Ribera (1532-1611), it shows the young Virgin Mary seated half-length aga [+]
This is the right panel of the Altar Piece of the Pietà, Saint Michael and Saint Catherine from the church of Santa María in Ejea de los Caballeros (Zaragoza). As is the norm in Xim&eacu [+]
This and five other panels at the Prado Museum (P6898, P6899, P6900, P6901, P6902), are some of the finest examples of the collaboration between Rodrigo and Francisco de Osona. They were probably desi [+]
