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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 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 [+]
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 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 [+]
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 [+]
Bosch thus shows how man, irrespective of his social class or place of origin, is so possessed by the desire to enjoy and acquire material possessions that he allows himself to be deceived or seduced [+]
A slightly more than half-length image of Jesus wearing a red tunic and blue robes. Holding the cross with both hands, he rests it on his left shoulder. His head is slightly raised and his watery eyes [+]
In the same year that he published the Apocalipsis cum figuris, Dürer painted himself as a gentleman, dressed in light toned clothes and looking his best. He wears an open black and white doublet [+]
Jacopo Basilio commissioned this painting for the Monastery of Santa Maria dello Spasimo in Palermo, from which it derives its popular name, lo Spasimo di Sicilia (“The Wonder of Sicily”), which refle [+]
Saint Anthony, whom the artist has been able to place in the immediate foreground of this panel by using a landscape format, closely resembles the saint depicted in the Saint Anthony triptych in Lisbo [+]
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 [+]
