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Technical studies carried out at the Museo del Prado confirm Alonso Cano as the author of this Virgin of the Star, which belongs to the Museo del Prado but has been on loan to the Museo del Bellas Art [+]
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 [+]
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 [+]
The composition derives from a lost work by Leonardo repeated by Yáñez on two other occasions with some variants. Here he includes a chalice and a consecrated Host, a Eucharistic referen [+]
El personaje es representado de medio cuerpo y ante un fondo oscuro. El artista tradujo de forma magistral el rostro y las manos del anciano e insistió en los detalles fisonómicos, pero materializándo [+]
Aún no se ha identificado a su autor; pero en algunos aspectos coincide con las obras salidas del taller de Joos van Cleve, que también colaboró con Patinir representando figuras para sus escenas de p [+]
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 [+]
This portrait is one of Dürer’s great creations. It offers a three-quarters view of an unidentified person who occupies most of the canvas. Dürer places him in front of a dark background tha [+]
Con la adquisición en 2008 de la tabla Sagrada Familia con ángel músico (P08009), el Museo del Prado completa el tríptico del Maestro de Francfort, que perteneció al convento dominico de Santa Cruz de [+]
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 [+]
Located against a background landscape resembling those of Joachim Patinir (c. 1480-1524), Saint Jerome kneels in prayer before a crucifix and skull. In this case he is not depicted inside a cave or b [+]
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 [+]
As this painting shows, the German portrait style survived in Antwerp well into the sixteenth century: the sitter is shown half-length against a brightly-coloured background. In his left hand he holds [+]
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 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 painting represents the triple generation of Christ, a subject which was very popular at the time on account of the extensive devotion to Saint Anne, the Virgin’s mother. The artist shows her in [+]
This painting depicts a passage from the Gospel of Saint John (19, 4-5) which recounts how after Christ had been whipped and crowned with thorns: Pilate therefore went forth again, and saith unto them [+]
Francisco Fernández de Córdoba wears a biretta and ecclesiastical robes. He was the son of the second Count of Cabra and of Doña María Hurtado de Mendoza-Luna. He was the B [+]
