Loading...
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 [+]
In the centre of a rectangular surface Bosch incised a circle in which he depicted this scene of Extracting the stone of madness. The resulting image is a mirror that offers a reflection of folly and [+]
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 [+]
Documents at Palencia Cathedral cast light on this Crucifixion’s original location -the central row of the main altarpiece at that cathedral- and its author: Juan de Flandes (doc. 1496-1519). They als [+]
This version of the Mona Lisa (Louvre) was painted by one of Leonardo’s pupils, probably Salaí (1480-1524) or Francesco Melzi (1493-1572/3). The fact that each pentimento, or change, in Leonard [+]
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` [+]
This panel formed part of an altar dedicated to St Anne at Badajoz Cathedral. Commissioned by the bishop at that time, Juan de Ribera (1532-1611), it shows the young Virgin Mary seated half-length aga [+]
In addition to the originality of its subject, this painting by Patinir is also remarkable for its unusual composition within Patinir`s oeuvre. The artist has divided the space vertically into three z [+]
Like The Virgin and Child with a Spindle (P07864), this panel formed part of the altar of St Anne in Badajoz Cathedral, commissioned by the bishop of the time, Juan de Ribera (1532-1611). It is really [+]
When Parmigianino left his native city of Parma to move to Rome in 1524 he took this painting with him and presented it to Pope Clement VII. This is the artist´s first mature work and one that already [+]
The position of the figures, looking at each other, is common for diptych paintings. However, we do not know if these were originally painted as pendants to each other. In 1597, this panel and Virgin [+]
Pareja de El Descendimiento o La Quinta Angustia (P117), ambos son copias en pequeño formato de dos óleos sobre lienzo pintados por Correggio entre 1520 y 1524 para la iglesia de San Giovanni Evangeli [+]
The figure type and the finished style of drawing suggest the work of the Lombard painters Bernardino Luini (c. 1480/85-1532) or Andrea Solario (c. 1465-1524). A number of weaknesses in the handling, [+]
This drawing was formerly placed under the name of the French painter Jacques Blanchard (1600-1638), to whom it is traditionally attributed. The style, however, points directly to the work of the late [+]
This is the most Raphaelesque of all the sixteenth-century Italian drawings in the Prado, the confident style of drawing in black chalk echoing that of Raphael´s own late drawings in the medium, above [+]
Classified in the collections of Brun and Fernández Durán as by Paolo Farinati (1524-1606). The silvery finish, suggested by the copious white heightening on a support of light blue-grey [+]
The two Barbarian prisoners appear over the main door-way, to the left of a military trophy, in Polidoro´s facade decoration of the Palazzo Ricci, Rome (Ravelli, 1978, pp. 311-27; Leone de Castris, 20 [+]
Although by a mediocre hand, this head calls to mind those in red chalk of a similar type by Giovanni Agostino da Lodi (active c. 1467-1524/25), a Milanese follower of Leonardo, a fine example of whi [+]
