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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 [+]
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 more-than-half-length portrait presents a boy dressed in black with a white shirt. He rests his left hand on his waist while holding his gloves in his right. A gold chain around his neck is match [+]
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 [+]
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 [+]
Christ appears above a rainbow with his feet resting on the globe of the Earth and his arms raised. He is flanked by Mary and Saint John the Baptist, and besides them, the twelve apostles. Two trumpet [+]
Religion succoured by Spain (c.1572-75), belongs to the last group of paintings that Titian sent to Philip II in 1576, one year before the artist’s death. As such, it is almost seven decades older tha [+]
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 [+]
There is some controversy about the authorship of this small panel painting, which some historians attribute to Florentine painter Andrea del Sarto and others consider closer to the work of 16th-centu [+]
Mary Magdalene kneels in the foreground. Behind her are Saint Peter martyr of Verona; Saint Catherine of Sienna and Blessed Margaret of Hungary. Pérez Sánchez believed this to be a fragm [+]
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 [+]
This panel originally had an arched top and included a more open landscape with less leafy trees. At an unknown date the work must have suffered damage that affected the pictorial surface, resulting i [+]
The panel has been extended at the top: the original part is one board of Baltic oak, horizontal in grain and about 27 cm high. Sections of the unpainted edges survive on all four sides. The last ring [+]
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 [+]
