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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 [+]
Although the crown, sword and serrated wheel identifies this figure as the fourth-century saint, Catherine, it has also been suggested that the sitter is Catherine of Austria (1507-1578), daughter of [+]
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”, [+]
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 [+]
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 [+]
A group of villagers pass the time by testing their aim with a bow. One shoots at the target placed in the ruins of a wall while the others look on, standing or sitting, and a small group converse. Th [+]
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 [+]
On 16 April 1529 Federico II Gonzaga, First Duke of Mantua (1500-1540), apologised to his uncle Alfonso d’Este for retaining Titian: perché ha conienzo un retratto mio qual molto desidero sii f [+]
The mural paintings from the Hermitage of the Vera Cruz de Maderuelo were transferred to canvas in 1947 and reconstructed at the Prado Museum in a layout as faithful to the original as possible. The w [+]
This is the right wing of the Genealogy of the Virgin altarpiece which the Count of Barajas donated to Philip II, according to the inventory of the Alcazar of Madrid of 1600. On the reverse, Saint Ber [+]
A more than half-length image of the Virgin over a gold background. She holds the Christ Child while two angels crown her as Queen of Heaven. The thistles the Christ Child plays with are a clear allus [+]
Trained in Antwerp and influenced by Quintin Massys, as this panel reveals, the anonymous Master of the Holy Blood had an active workshop in Bruges. In contrast to Massys’ painting of this subject in [+]
This triptych shows The Adoration of the Magi on its central panel, with The Annunciation on the left door and The Adoration of the Angels and Shepherds on the right. Each scene takes place in a diffe [+]
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