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The Garden of Earthly Delights Triptych
Grisaille, Oil on oak panel. 1490 - 1500
Bosch, Hieronymus
The Garden of Earthly Delights Triptych
Grisaille, Oil on oak panel. 1490 - 1500
Bosch, Hieronymus

The Garden of Earthly Delights is Bosch’s most complex and enigmatic creation. For Falkenburg the overall theme of The Garden of Earthly Delights is the fate of humanity, as in The Haywain (P02052), although Bosch visualizes this concept very differently and in a much more explicit manner in the centre panel of that triptych than in The Garden of Earthly Delights. In order to analyse the work’s me

The Visitation
Oil on panel. Ca. 1500
Master Of Perea
The Visitation
Oil on panel. Ca. 1500
Master Of Perea

This is a scene from the New Testament (Luke 1, 39-56) when the Virgin Mary is pregnant with Jesus. Accompanied by Saint Joseph, she goes to visit her cousin, Elizabeth, who is pregnant with Saint John. The scene immediately previous to the main scene is visible in the background: the Virgin and Saint Joseph are directed to the house of Elizabeth and her husband, Zachariah, by two angels. The elon

Saint Gregory
Mixed method on panel. Ca. 1500
Nalda, Juan de
Saint Gregory
Mixed method on panel. Ca. 1500
Nalda, Juan de

The painter, of Riojan origin, completed his artistic formation with Jean Changenet in Avignon (doc. 1493). When he returned to Castile he worked in Palencia and Burgos. The simplification of volumes in his work and the importance given to light show the influence of Provencal art. Besides the sculptural image of the bishop and saint, there is a striking contrast between the realist design of the

Saint Francis of Assisi receiving the Stigmata
Oil on panel. Ca. 1510
Master Of Hoogstraten
Saint Francis of Assisi receiving the Stigmata
Oil on panel. Ca. 1510
Master Of Hoogstraten

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 horizon line allows the artist to represent a town on the left and, behind it, some rocks which evoke Patinir’s works.

Christ shown to the People / The Virgin and Child
Oil on panel. Ca. 1500
Anonymous
Christ shown to the People / The Virgin and Child
Oil on panel. Ca. 1500
Anonymous

Christ shown to the People is an unfinished painting that allows for the direct study of the pictorial process, specifically the underlying drawing. It is a work in progress for which the first stages of execution (preparation of the support and preliminary drawing) have been completed. The painting stage has begun and reaches different degrees of completion depending on the figure in question. Th

Adam
Oil on panel. 1507
Dürer, Albrecht
Adam
Oil on panel. 1507
Dürer, Albrecht

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 balance between Italian and Germanic approaches that would permit the ideal perfection of the human body. Thus, the choice of a biblical subject here is mere pretext. Dürer´s knowledge of the cl

The Crucifixion
Mixed method on panel. Ca. 1480
Bernat, Martín
The Crucifixion
Mixed method on panel. Ca. 1480
Bernat, Martín

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 little use of gold in the figures and in the scenery. The composition, a grandiose crucifixion which could have been completed in Bermejo’s workshop and with his help, is based on that of the altar piece

The Virgin and Child between Saints Anthony of Padua and Roch
Oil on canvas. Ca. 1510
Titian (Tiziano Vecellio)
The Virgin and Child between Saints Anthony of Padua and Roch
Oil on canvas. Ca. 1510
Titian (Tiziano Vecellio)

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 attributed it to Titian in 1904. Most specialists now share Schmidt’s opinion, except for Charles Hope, who considers it the work of an artist yet to be determined, and Paul Holberton, who believes it to

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

The Annunciation
Mixed method on panel transferred to canvas. Ca. 1500
Master Of la Sisla
The Annunciation
Mixed method on panel transferred to canvas. Ca. 1500
Master Of la Sisla

The Death of the Virgin
Mixed method on panel transferred to canvas. Ca. 1500
Master Of la Sisla
The Death of the Virgin
Mixed method on panel transferred to canvas. Ca. 1500
Master Of la Sisla

Excepting some variants, such as the window opening onto a landscape or the face of the Virgin, this painting reproduces the composition of an engraving by Martin Schongauer, which accounts for its aesthetic links with productions from the region of Alsace and the Upper Rhine. Like the Master of La Sisla, other painters active in Spain in the late 15th century also drew inspiration from the prints

Table of the Seven Deadly Sins
Oil on poplar panel. 1505 - 1510
Bosch, Hieronymus
Table of the Seven Deadly Sins
Oil on poplar panel. 1505 - 1510
Bosch, Hieronymus

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 Death and the Last Judgment, reads: Gens absq[ue] [con]silio e[st] et sine prudentia // deutro[m]y 32 [um//] utina[m] sapere[n]t [et] i[n]telligere[n]t ac novissi[m]a p[ro]videre[n]t (For they are a n

Saint Damian
Oil on panel. Ca. 1510
Yáñez de la Almedina, Fernando
Saint Damian
Oil on panel. Ca. 1510
Yáñez de la Almedina, Fernando

Depicted more than half-length, the Saint wears a flesh-colored tunic and blue robes with a fur collar and lining and a black cap. The jar of salve in his left hand alludes to his role as a holy doctor. The lower part of the background is unfinished, and only the sky remains in the upper part. While this painting´s attribution to Yáñez has sometimes been questioned, considering it th

Christ the Saviour
Oil on panel. Ca. 1510
Anonymous
Christ the Saviour
Oil on panel. Ca. 1510
Anonymous

The Adoration of the Magi
Mixed method on panel transferred to canvas. Ca. 1500
Master Of la Sisla
The Adoration of the Magi
Mixed method on panel transferred to canvas. Ca. 1500
Master Of la Sisla

The Apostle James
Mixed method on panel. Ca. 1500
Master Of The Visitation Of Palencia
The Apostle James
Mixed method on panel. Ca. 1500
Master Of The Visitation Of Palencia

This panel is by an anonymous Hispano-Flemish painter active in Burgos and Palencia who was influenced by Diego de la Cruz and the Master of Los Balbases. His name derives from his best known work, the Altarpiece of the Visitation in Palencia Cathedral. The apostle can be identified by the inscription on his halo and his attributes: the pilgrim’s staff, water gourd, hat and cockle shells. In his l

Zechariah
Grisaille, Oil on oak panel. Ca. 1510
Provost, Jan
Zechariah
Grisaille, Oil on oak panel. Ca. 1510
Provost, Jan

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 Bernard of Siena appears in grisaille. The painter represents Zechariah, John the Baptist´s father, in an enclosed garden, employing the squat proportions which are characteristic of this word.

Miracle of Saint Anthony of Padua
Oil on panel. Ca. 1500
Anonymous
Miracle of Saint Anthony of Padua
Oil on panel. Ca. 1500
Anonymous

This panel depicts a miracle of Saint Anthony: the conversion of a heretic when he realised that a hungry mule refrained from eating a basket of barley with a consecrated Host on it. Sculpture is used to characterise the different buildings in the urban setting in which the episode takes place, with saints on churches and kings on the town hall.

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