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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 [+]
Indebted to the Bruges tradition, the priest holding Saint Gregory’s tiara stems from Jan van Eyck’s Portrait of a Man with Carnation in Berlin and the composition accentuates the sfumato and the grac [+]
The Virgin Mary, turned slightly to the right, has her hands clasped in an imploring attitude, her gaze absent and her eyes flooded with tears. She wears a bluish-green robe, a violet tunic and a whit [+]
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 [+]
This panel and its pair Saint Francis of Assisi (P07961), must originally have formed part of a more complex structure probably produced during the artist’s last years in Valencia or his first years i [+]
The famous Flemish painter is portrayed almost full-length, sitting in a chair and wearing red robes and a fur coat. This landscape painter and contemporary of Van Dyck had no left arm, which is clear [+]
An independent painter since 1515, Pitati trained with Palma Vecchio whose late style he assimilated. This panel dates from his early period (1515-28) and reveals his knowledge of the work of Bellini, [+]
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 composition retains the structure of traditional triptychs, but the landscape links the three panels together to form a single scene, thus including the pilgrim-donor and Saint Ursula in the Myst [+]
Christ gives the keys to Saint Peter, symbolising the latter’s authority over the Church, observed by three young women identified with the theological Virtues:Charity, in a white tunic, Faith in a vi [+]
Mary is depicted over half-length, standing with her child in her arms, beside an arch with gothic tracery and landscape in the background. The Christ Child plays with the coral beads of a rosary his [+]
Christ is depicted here in a frontal pose, as “Salvator Mundi”; his hand is raised in blessing, and he holds an orb. Although thought to be from the workshop of Van Cleve, this panel differs from the [+]
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 docto [+]
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According to the Latin inscription on the back of this panel, which attributes it to Jan Gossaert, it was acquired by the magistrate of Louvain in 1588 from that city’s Augustinian monks. It was inten [+]
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 [+]
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 pa [+]
Figura de cuerpo entero, con el niño en brazos; un joven donante arrodillado; fondo de paisaje. En el marco, el escudo. Presenta analogías con tablas vallisoletanas influidas por Pedro Berruguete. Día [+]
