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Van Aelst maintains the traditional triptych structure but updates it by representing a single scene, thus achieving the compositional unity promoted by Italian Renaissance art. The iconography and co [+]
Modigliani identified the sitter as Agnese, the painter’s sister-in-law, through her resemblance to the woman who appears in the Portrait of Arrigo Licinio and his Family (Rome, Galleria Borghese, inv [+]
The Virgin Mary reaches out to the Christ Child, who walks toward her. In the lower left corner, Saint John, adorned with a necklace of flowers, offers a flower to his cousin. A lily growing on the ri [+]
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 [+]
A broad view of the Flemish countryside, with diverse scenes of peasants carrying out their respective tasks. This is one of the finest examples of the collaboration between Jan Brueghel “the Elder”, [+]
Born in 1507 after the death of her father, Felipe el Hermoso, the younger sister of Carlos V married Juan III of Portugal in 1525 and died in 1578. Gifted with an energetic character, she took on the [+]
A male figure smokes and drinks, directing an expressive glace at the viewer. Behind him, a companion is inside a tavern filled with vats, basins and barrels. The protagonist has been identified as a [+]
Droochsloot was the only artist in the Utrecht school who cultivated the painting of scenes featuring winter landscapes and pastimes, a favourite genre in sixteenth -and seventeenth- century Dutch pai [+]
Alfonso d´Avalos, first Marchese del Vasto, was born in Ischia on 25 May 1502 to a noble Neapolitan family of Castilian origins. He fought in Pavia (1525) under the orders of his uncle Fernando d´Aval [+]
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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 b [+]
This composition retains the structure of traditional triptychs, but the landscape links the three panels together to form a single scene, thus including the pilgrim-donor and Saint Ursula in the Myst [+]
Christ gives the keys to Saint Peter, symbolising the latter’s authority over the Church, observed by three young women identified with the theological Virtues:Charity, in a white tunic, Faith in a vi [+]
This panel and its pair Saint Onuphrius (P07947), 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 [+]
Two banderoles, one above and the other below the central circle, contain Latin texts from Deuteronomy (32: 28-29 and 20), warning against the wages of sin. The upper banderole, between the tondos of [+]
Mary is depicted over half-length, standing with her child in her arms, beside an arch with gothic tracery and landscape in the background. The Christ Child plays with the coral beads of a rosary his [+]
Avoiding the traditional emotional distance used to depict this subject, Van Reymerswaele rather presents it as a moving genre scene. Figures and objects are reduced to a minimum. However the Christ C [+]
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