Loading...
This painting is among the few known works from Berruguete’s formative years in Florence and Rome, the latter depicted in the background. The bridle bit, the hand on the breast and the laurel wreath allude to the subjugation of the instincts by reason and temperament.
One of Cranach´s customary compositions with the Virgin Mary holding the Christ Child on her lap. Jesus takes some grapes from the hands of young Saint John while three angels hold a finely wrinkled red cloth behind them, forming a sort of canopy. A landscape at the upper left of the painting recalls the artist´s training in the Danube school. This work is outstanding for its firm drawing, the pre
With the exception of the landscape, Northern European in inspiration, the work is a reproduction on a smaller scale of an intermediate state in the execution of Leonardo da Vinci’s Saint Anne, possibly during his second period in Milan. It documents details which he had planned in the original and later modified. The copyist also simplified certain features, as Leonardo was afterwards to do in th
Described by Lodovico Dolce as a gentleman of great merit and infinite goodness, Daniele Barbaro (1513-1570) was from a noble Venetian family. He was educated to the highest level first in Verona and then at Padua University. A philosopher of neo-Aristotelian leanings, he became friends with important Venetian humanists, some of whom were also portrayed by Titian, such as Pietro Bembo (Washington,
Philip II (r. 1556-98) was Titian´s most important patron, and together they forged one of the most fruitful artistic relationships of the European Renaissance. Philip surpassed all of the Venetian painter´s previous patrons both in the number of commissions and in their variety. Unlike his father, Emperor Charles V (r. 1519-56), Philip was not satisfied with only portraits and devotional works; h
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 1526, he painted for influential families such as the Tassi, Bonghi, Brembati and Cassotti.The Cassotti, wealthy textile merchants originating from Valle Imagna, used the arts to demonstrate their soc
This version of the Mona Lisa (Louvre) was painted by one of Leonardo’s pupils. The fact that each pentimento, or change, in Leonardo’s original (to the bust, outline of the veil and position of the fingers) is repeated here suggests that the two works were created simultaneously. There are also differences with respect to the original, in the unfinished landscape and on the face. Overall, the pan
Seated on a throne, the Virgin holds the Christ Child in her lap. On the right, Saint Jerome dressed as a Cardinal reads the Vulgata (The Bible he, himself, translated into Latin). The Archangel Raphael, with the lion that symbolizes him, stands with Tobias, who holds the fish with which he will cure his father´s blindness. This work is known as The Virgin with a Fish, and was commissioned by Gero
El Greco executed various versions of the Holy Face on the Veil of Veronica, an iconographic motif that became very popular at the end of the Middle Ages. According to the story that developed during the medieval period, on His way to Calvary a woman offered Jesus a white cloth to wipe the sweat and blood from His brow, and the features of His face became imprinted on the cloth. There is no biblic
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-lock pistol. His suit of armour was made around 1545 by Desiderius Helmschmid and has an image of the Virgin and Child on the breastplate, as was customary with Charles’ armour from 1531. Panofsky pointe
The composition is inspired by Rogier van der Weyden`s models. The figure of Christ is based in reverse of the Crucifixion in Vienna (Kunsthistorisches Museum) and the Mary Magdalene is quoted from the Descent from the Cross in the Prado. In spite of the meticulous technique and his mastery of landscape, indebted to Gerard David, the author lacks Van der Weyden`s skill in linking the figures toget
Philip IV called this painting The Pearl, as it was his favorite among all those in his collection. The composition was designed by Raphael but part of the execution was delegated to his pupil Giulio Romano (c. 1499-1546). As in other late works by Raphael, we find considerable emphasis on the landscape and contrasts of light, the result of the artist´s re-encounter with the work of Leonardo in Ro
The present work is a copy of the Portrait of a Seated Woman (Vienna, Kunsthistorisches Museum, https://www.khm.at/objektdb/detail/1513/?offset=7&lv=list), which the authors of the Corpus consider to be a workshop product. Another known copy, this one on panel, was listed as no. 93 in the sale of the Gustave Rothan collection held in Paris in 1890.
This personification of dreams ("Hypnos") is the brother of Death and son of Night and Erebus (the darkness of hell). Hypnos traveled around the world on wings, making the living drowsy. His attributes, opium poppies in his left hand and a small horn in his outstretched right hand, are lost on this statue. Hypnos, or Sleep, strides towards a figure lying at his feet, who was not shown, to wet his
