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This is one of the Spanish Renaissance’s most emblematic depictions of a female figure and the best known of Yáñez de la Almedina’s works. Both considerations are due to the visibility t [+]
This New Testament scene depicts the Descent from the Cross of Christ´s body (Matthew 28, 57-61; Mark 15, 42-47; Luke 23, 50-55; John 19, 38-42). Joseph of Arimathea, Nicodemus and Saint John the Evan [+]
Since the moment when it was decided that the present work is by Raphael but that the sitter is not Antonio Granvela, art historians have expended considerable efforts on identifying the sitter.The mo [+]
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 [+]
Christ returned to life, triumphant alongside the sarcophagus that held his body for three days after his death on Golgotha, was a frequent subject in Correa´s work. The retable for the convent of the [+]
In 1954 this work, then in the Adanero Collection, was published by Angulo Íñiguez who unhesitatingly attributed it to Yáñez de la Almedina, or at least, his workshop. This [+]
This Charity, one of the most important works by the Tuscan painter Portelli, derives from a work on the same subject by Francesco Salviati (1510-1563) now in the Uffizi, Florence, emulating its compo [+]
Christ is presented as the Savior of the World, blessing humankind, between Saint John and the Virgin, who turn towards him. The three figures are shown three-quarters under arches with a complex goth [+]
Seeing the cadaver of Empress Isabel of Portugal, the wife of Carlos V, has a profound effect on Francisco de Borja, Duke of Gandía, who almost collapses in front of one of his knights. The mel [+]
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 [+]
Like The Virgin and Child with a Spindle (P07864), this panel formed part of the altar of St Anne in Badajoz Cathedral, commissioned by the bishop of the time, Juan de Ribera (1532-1611). It is really [+]
The first verified Spanish documentation of Holy Family with the Infant Saint John the Baptist or Madonna of the Rose, c. 1517, dates from 1657. In 1642 Wenceslaus Hollar engraved this composition aft [+]
Christ’s prayer on the Mount of Olives is the gospel episode that precedes his arrest and the beginning of his Passion and death on the cross. After the last supper with his disciples, Jesus withdraws [+]
The dimensions, format, theme, support and pictorial style of these three works -The Crucifixion (P8211), Lamentation over the Dead Christ (Museo de Salamanca, CE 106) and The Resurrection (P8212)- al [+]
This scene from the life of Saint Bernard depicts the Virgin Mary’s apparition to the Cistercian monk and the miraculous milk he received from her breasts as thanks for his devotion. He is accompanied [+]
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 [+]
The author of this work has been identified as the painter of an Adoration of the Magi signed, apocryphally, Hericus Blesius Fecit (Munich, Alte Pinakothek). The Museo del Prado’s work presents the sa [+]
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 [+]
