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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 by its entrance. His red robe and hat identify him as a cardinal while the book refers to his role as a Father of the Church and the translator of the Bible into Latin. Behind him is the lion who accom
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 intended as a gift of thanks to Philip II for having waived the taxes and tariffs owed by the inhabitants of Louvain for twelve years after that city was decimated by the plague in 1578. Seeking to give th
Peter Paul Rubens, the Flemish Baroque artist, was also a humanist scholar, art collector, and diplomat. In 1628, Rubens went to Madrid to meet with Philip IV, King of Spain (1621-1665), as part of his efforts to negotiate a peace treaty between Spain and England, and during his stay the Flemish artist painted, among other subjects, portraits of the Spanish royal family. A patron of the arts, Phil
The format and the dimensions of this picture and the high horizon line allow for rendition of a large landscape, which displays what are generally regarded as the defining characteristics of Patinir`s style. Like the Rest on the Flight into Egypt (P1611), the foreground figures are shown on top of a hill in a scale suited to the proportions of the panel. On the much lower level of the middle grou
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 reference that enjoyed a lengthy tradition in Spanish and particularly Valencian art. The emphasis on anatomical definition, subtle colour and a unifying light are characteristic of the artist at this period
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 materializándolos con su característico sfumato, en el que se detecta el eco de Leonardo por el que se vio influido a partir de 1520. Atribuido con anterioridad a Hans Holbein, en la actualidad se juzga de mano de
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 in Cuenca. This dating is suggested by the looser, more painterly technique, and by the use of a lighter, more diluted pigment which emphasizes the fullness of the forms. The handling of space is chara
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 clearly shown, rather than hidden, in this portrait. In keeping with the Northern tradition of portraiture established by Anthonis Mor (1519-1576) and Adriaen Willem Key (1515/1520 - 1568), Van Dyck places
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 paisaje, igual que hizo Quintin Massys en Las tentaciones de San Antonio Abad (P1615). Por lo que se refiere al paisaje, las obras de van Cleve están mucho más trabajadas en superficie que las de Patin
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 middle ground behind the Virgin, merging with the background landscape to one side of the main figure. The countryside to the right, with the motifs of the farm, the village in the middle ground and the c
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 that bears some touches of blue. The light enters from the left, bringing out the features of the face and hands and projecting the sitter’s shadow onto the background at the right, where the date and th
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 Segovia, del que ya poseía las dos tablas laterales (P01941 y P01942). Cuando Ponz visitó este convento en la década de 1770, sus tres tablas aún no se habían separado. En mayo de 1836, cuando Castel
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 same subject on its central panel, while the lateral panels present Old-Testament scenes with King David and King Solomon. These two are considered prefigurations of Christ, which must have been the tri
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 and the metallic reflection of one of the soldier’s helmets. This is combined with the influences of the Italian Renaissance in the use of architecture and classical decoration.The oblique perspective e
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 inscription meaning Lamb of God refers to the Passion of Christ, who sacrifices himself, just as lambs were sacrified by the Jews, in order to save humanity from sin. The oak tree standing behind the main
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 Evangelist remove the nails and take down the Holy Body, while Mary Magdalene laments at his feet and the Virgin is consoled by other holy women. This is considered one of Correa´s finest works. The balan
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 a ring, a standard attribute in wedding portraits. The female companion piece has not been identified.
This painter is one of the most outstanding and singular representatives of the early Renaissance in Palencia. While there are no extant documents to prove it, this work must somehow be connected with Juan de Flandes (doc. 1496-1519) during the time that he was working in Palencia (1509-1519). This is visible in the strong dependence of its figures on Flandes´s models, as well as the manner of dep
