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 a [+]
The Virgin Mary reaches out to the Christ Child, who walks toward her. In the lower left corner, Saint John, adorned with a necklace of flowers, offers a flower to his cousin. A lily growing on the ri [+]
This half-length portrait of an anonymous woman is traditionally though to be of the painter´s wife, Lucrecia del Fede, who he married in 1518. While there are no conclusive arguments in that re [+]
The Virgin and Child are placed on a hill in the centre of the foreground, isolated from the rest of the figures, as in the Berlin panel (Gemäldegalerie ). The dark forest here begins in the midd [+]
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, [+]
Massys was one of the most important painters in early sixteenth-century Antwerp. He continued the realism and attention to detail of fifteenth-century painting, as seen in the faces of the figures an [+]
Leaning on a classical ruin, Saint Joseph looks at the Virgin Mary with the Christ Child in her lap. Jesus, in turn, is receiving a roll with the words Ecce Agnus Dei from Saint John. This Latin inscr [+]
Titian´s first contribution to the Camerino d´Alabastro was prompted by the death in October 1517 of Fra Bartolommeo from whom Alfonso d´Este had commissioned a Worship of Venus one year previously an [+]
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 [+]
This is the central panel of an altar piece from Siguenza Cathedral, part of which is preserved in the sacristy. It was made up of ten panels distributed into five vertical sections and a predella. Th [+]
While it is first listed in 1666 at the Alcázar, where it hung alongside Ribera’s Fable of Bacchus or Teoxenia (of which only three fragments have survived: two at the Museo del Prado and one i [+]
After the death of Philip IV in 1665, his widow Mariana (1634-1696) became regent. She is depicted here as both widow and regent in the Hall of Mirrors in the Alcázar in Madrid. The writing imp [+]
Dressed in the habit of a Knight of Saint James, the subject of this portrait kneels in prayer. An armored knight standing at his side and looking to the heavens may well be Saint Louis, King of Franc [+]
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 [+]
Outside of Rome and Florence, no painter was as decisive in the formulation of painting´s classical language as Corregio. His youth, before his stay in Rome in 1518 and 1519, cannot be understood with [+]
In 1604 in his biography of Mor, Karel van Mander referred to the artist’s trip to London in 1554, where he was sent on the orders of Charles V to paint Mary Tudor (1516–1558), and to the success of t [+]
The authorship, dating and iconography of this work are all controversial. It was described as being by Titian in the Libro de entregas of the Escorial in 1593, an opinion maintained by Sigüenza [+]
Antonio Correggio’s stay in Rome between 1518 and 1519 powerfully affected his late work, which reflects that of late Raphael and the Michelangelo of the Sistine Chapel. Without ever abandoning Andrea [+]
