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Portrait of a Man
Oil on panel. 1521
Dürer, Albrecht
Portrait of a Man
Oil on panel. 1521
Dürer, Albrecht

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

Francisco Fernández de Córdoba y Mendoza
Oil on panel. 1520 - 1521
Rincón, Fernando del
Francisco Fernández de Córdoba y Mendoza
Oil on panel. 1520 - 1521
Rincón, Fernando del

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 Bishop of Oviedo from 1526 and of Palencia from 1536, and died in 1539. Some verses in Latin identify the sitter and the painter who was “inspector” of Ferdinand the Catholic’s painters. The frame is o

The Virgin and Child between Saint Matthew and an Angel
Oil on panel. 1522
Sarto, Andrea del (Andrea D'agnolo)
The Virgin and Child between Saint Matthew and an Angel
Oil on panel. 1522
Sarto, Andrea del (Andrea D'agnolo)

The Virgin Mary holds the Christ Child, flanked on the right by an angel and, on the left, by Saint Matthew. The landscape in the background shows a scene from the Apocrypha (Proto-Gospel of Saint James): Saint Elisabeth and Saint John the Baptist fleeing from the Slaughter of the Innocents. The presence of Saint Matthew in this composition is explained by the fact the it was commissioned by a ban

The Holy Family
Oil on panel. 1522
Orley, Bernard Van
The Holy Family
Oil on panel. 1522
Orley, Bernard Van

The Holy Family is shown indoors, in front of a window thought which a costal landscape is visible. The Christ Child stands on a sumptuous carpet and plays with his mother. Saint Joseph holds an apple —an allusion to the Garden of Eden-that symbolizes Mary´s condition as the new Eve. An Angel crowns the Virgin as Queen of Heaven while another offers her a basket of flowers like those resting on th

The Visitation
Oil on panel transferred to canvas. Ca. 1517
Romano, Giulio (Giovanni Francesco Penni); Penni, Giovanni Francesco
The Visitation
Oil on panel transferred to canvas. Ca. 1517
Romano, Giulio (Giovanni Francesco Penni); Penni, Giovanni Francesco

The Virgin Mary visits her cousin, Elisabeth, who is pregnant with Saint John, as told in the New Testament (Luke 1, 39-45). That is the moment when the Virgin sings the Magnificat. The two figures can be told apart by their age. Mary is depicted as a young woman while Elizabeth, on the left, is almost an old woman, which emphasizes the miracle of her pregnancy, as the Bible texts have it. The sce

The Andrians
Oil on canvas. 1523 - 1526
Titian (Tiziano Vecellio)
The Andrians
Oil on canvas. 1523 - 1526
Titian (Tiziano Vecellio)

Having delivered the Bacchus and Ariadne in 1523 Titian then painted The Andrians, also inspired by Philostratus (Imagines I, 25). The scene is set on the island of Andros, a place so favoured by Bacchus that a stream flows with wine. Gods, men and children unite in the celebration of the effects of wine, whose consumption, in Philostratus´ words, makes men rich, dominant, generous to their friend

Portrait of a Humanist
Oil on panel. Ca. 1540
Scorel, Jan Van (Attributed To)
Portrait of a Humanist
Oil on panel. Ca. 1540
Scorel, Jan Van (Attributed To)

Although this panel is not documented, it has been attributed to Scorel since its attribution by Hoogewerff in 1923.The artist depicts the unknown humanist half-length in front of a landscape. Scorel’s time in Venice in 1520 acquainted him with the work of the artists working there, in particular Lorenzo Lotto.The latter had a major influence on his portraits, some of which reveal Scorel’s love of

Old Woman tearing at her Hair
Oil on oak panel. After 1553
Massys, Jan (Circle Of)
Old Woman tearing at her Hair
Oil on oak panel. After 1553
Massys, Jan (Circle Of)

On the reverse of this portrait is an old inscription in ink reading ‘MAESTRO QUINTIN’. Bosque attributed it to that artist in his catalogue, although emphasising the difference of technique between this work and that used for the old woman in The Temptations of Saint Anthony by Joachim Patinir and Quinten Massys (Madrid, Museo del Prado, P-1615), painted prior to 1522. He suggests that the presen

Emperor Charles V at Mühlberg
Oil on canvas. 1548
Titian (Tiziano Vecellio)
Emperor Charles V at Mühlberg
Oil on canvas. 1548
Titian (Tiziano Vecellio)

This portrait commemorates Charles V’s victory over the Schmalkaldic League at Mühlberg on 24 April 1547. The Emperor is equipped in the manner of the light cavalry with a half pike and wheel-lock pistol. His suit of armour was made around 1545 by Desiderius Helmschmid and has an image of the Virgin and Child on the breastplate, as was customary with Charles’ armour from 1531. Panofsky pointe

The Holy Family with the Infant Saint John the Baptist, or Madonna of the Rose
Oil on panel transferred to canvas. Ca. 1517
Raphael (Raffaello Sanzio)
The Holy Family with the Infant Saint John the Baptist, or Madonna of the Rose
Oil on panel transferred to canvas. Ca. 1517
Raphael (Raffaello Sanzio)

The first verified Spanish documentation of Holy Family with the Infant Saint John the Baptist or Madonna of the Rose, c. 1517, dates from 1657. In 1642 Wenceslaus Hollar engraved this composition after a painting belonging to Thomas Howard, 21st Earl of Arundel, one of the present work’s probable owners. However, there were copies of the work in Spain in the sixteenth century, including no less t

Giovanni Battista Caselli, Poet from Cremona
Oil on canvas. 1557 - 1558
Anguissola, Sofonisba
Giovanni Battista Caselli, Poet from Cremona
Oil on canvas. 1557 - 1558
Anguissola, Sofonisba

The identification of this elderly gentleman sitting at a desk in his study is borne out by the inscription on the fore edge of the book he is writing in, which displays the words "rime del casellio". Giovanni Battista Caselli was a poet and medal engraver who enjoyed certain prominence in Cremona during his lifetime, though there is little reliable information about him today. Nevertheless, Casel

The Birth of the Virgin
Pencil, Grey-brown ink on paper. XVI century
Anonymous
The Birth of the Virgin
Pencil, Grey-brown ink on paper. XVI century
Anonymous

This seems a good drawing by a competent hand. While there are some hints of the work of the two sienese artist, Andrea Casolani (1522/23-1608) and Astolfo Petrazzi (1579-1665), other aspects of the drawing´s style point to that of Roman artists from the circle of Cherubino Alberti (1553-1615).

Eat not, famous Torrigiano
Brush, Bistre, Grey-brown ink, Iron gall ink, Black chalk lines, Wash, Scraping out on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
Eat not, famous Torrigiano
Brush, Bistre, Grey-brown ink, Iron gall ink, Black chalk lines, Wash, Scraping out on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

Agate cup in the form of a peach
Agate. XVII century
Taller de la Dinastía Ch´ing
Agate cup in the form of a peach
Agate. XVII century
Taller de la Dinastía Ch´ing

A vessel formed by a single piece of agate with a handle in the form of a branch curved over an everted lanceolate bowl with smooth sides. The handle branches out at the base with carved leaves and flowers and another flower above it, visible only when the bowl is turned over. The flat profile of the upper part of the handle is frequent in the productions of the early Qing dynasty. The fruit repre

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