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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 [+]
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 [+]
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 [+]
Christ is presented as the Savior of the World, blessing humankind, between Saint John and the Virgin, who turn towards him. The three figures are shown three-quarters under arches with a complex goth [+]
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` [+]
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 [+]
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 [+]
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 [+]
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 [+]
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 [+]
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 [+]
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 [+]
