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Triptych of the Redemption: The Crucifixion
Oil on panel. Ca. 1450
Master Of The Prado Redemption
Triptych of the Redemption: The Crucifixion
Oil on panel. Ca. 1450
Master Of The Prado Redemption

This triptych is the principal creation and the work that has given the name to an anonymous follower of Rogier van der Weyden, previously identified as Vrancke van der Stockt. The triptych belonged to Leonor de Mascarenhas (1503-1584), a Portuguese lady who moved to Spain in 1526 and was aya to Philip II and afterwards to his son Don Carlos. When in 1564 she founded the convent of Franciscan nuns

The Burial of Christ
Oil on canvas. 1572
Titian (Tiziano Vecellio)
The Burial of Christ
Oil on canvas. 1572
Titian (Tiziano Vecellio)

Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first version (Paris, Louvre) of around 1526 which is clearly indebted to Raphael´s painting of that subject (Rome, Galleria Borghese), and his other versions painted between 1559 and 1572. The main differe

Triptych of the Redemption: The Expulsion of Adam and Eve from Paradise
Oil on panel. Ca. 1450
Master Of The Prado Redemption
Triptych of the Redemption: The Expulsion of Adam and Eve from Paradise
Oil on panel. Ca. 1450
Master Of The Prado Redemption

This triptych is the principal creation and the work that has given the name to an anonymous follower of Rogier van der Weyden, previously identified as Vrancke van der Stockt. When open the triptych shows the Expulsion from the Garden of Eden, the Crucifixion and the Last Judgment. The left panel shows the Expulsion from Paradise with various scenes alluding to the Creation in the arch´s orders.

Triptych of the Redemption: Last Judgement
Oil on panel. Ca. 1450
Master Of The Prado Redemption
Triptych of the Redemption: Last Judgement
Oil on panel. Ca. 1450
Master Of The Prado Redemption

This triptych is the principal creation and the work that has given the name to an anonymous follower of Rogier van der Weyden, previously identified as Vrancke van der Stockt. When open the triptych shows the Expulsion from the Garden of Eden, the Crucifixion and the Last Judgment. The front and back of the lateral panels were separated at a recent date and the two scenes can now be seen simultan

Christ carrying the Cross
Oil on canvas. Ca. 1565
Titian (Tiziano Vecellio)
Christ carrying the Cross
Oil on canvas. Ca. 1565
Titian (Tiziano Vecellio)

Renaissance painting abounds with representations of Christ bearing the cross on the road to Calvary, either as an isolated figure, or with an executioner assailing him, or accompanied by soldiers, curious bystanders and followers, among whom the depiction of Simon of Cyrene is relatively common. According to three of the evangelists (Matthew 27:32-33, Mark 15:21-22, and Luke 23:26-27), Simon carr

Triptych of the Redemption: Tribute to Caesar
Grisaille, Oil on panel. Ca. 1450
Master Of The Prado Redemption
Triptych of the Redemption: Tribute to Caesar
Grisaille, Oil on panel. Ca. 1450
Master Of The Prado Redemption

This triptych is the principal creation and the work that has given the name to an anonymous follower of Rogier van der Weyden, previously identified as Vrancke van der Stockt. When open the triptych shows the Expulsion from the Garden of Eden, the Crucifixion and the Last Judgment. The scenes were located beneath Gothic canopies in which various sculptural groups completed the redemptive message,

The ascension of Saint Gennaro
Oil on canvas. 1635
Vaccaro, Andrea
The ascension of Saint Gennaro
Oil on canvas. 1635
Vaccaro, Andrea

Bishop Gennaro (or Januarius) is the patron saint of Naples, and thus the subject of numerous works from that city’s rich school of painting. According to tradition, he was bishop of Benevento during the Diocletianic Persecution in the third century AD. While visiting Pozzuoli, north of the Gulf of Naples, Gennaro was taken prisoner and tortured in various ways, miraculously emerging unscathed. Fi

Marsilio Cassotti and his Wife Faustina
Oil on canvas. 1523
Lotto, Lorenzo
Marsilio Cassotti and his Wife Faustina
Oil on canvas. 1523
Lotto, Lorenzo

Having trained in Venice, probably with Giovanni Bellini, Lorenzo Lotto worked in Treviso (1503-1506), Recanati (1506- 1508) and Rome (c. 1508-1510) before settling in Bergamo.There, between 1513 and 1526, he painted for influential families such as the Tassi, Bonghi, Brembati and Cassotti.The Cassotti, wealthy textile merchants originating from Valle Imagna, used the arts to demonstrate their soc

The Burial of Christ
Oil on canvas. 1559
Titian (Tiziano Vecellio)
The Burial of Christ
Oil on canvas. 1559
Titian (Tiziano Vecellio)

Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first version (Paris, Louvre) of around 1526 which is clearly indebted to Raphael´s painting of that subject (Rome, Galleria Borghese), and his other versions painted between 1559 and 1572. The main differe

The Descent from the Cross
Oil on panel. Before 1443
Weyden, Rogier Van Der
The Descent from the Cross
Oil on panel. Before 1443
Weyden, Rogier Van Der

The Descent from the Cross was painted for the Chapel of Our Lady Outside the Walls at Leuven, which was founded in the fourteenth century by the Great Crossbowmen`s Guild, sold in 1798 and demolished soon afterwards. The two small crossbows that hang from the tracery in the corners of the panel indicate that it was commissioned by that guild. The earliest datable copy, the Edelheere Triptych of 1

Christ on the Way to Calvary
Oil on canvas. Ca. 1560
Titian (Tiziano Vecellio)
Christ on the Way to Calvary
Oil on canvas. Ca. 1560
Titian (Tiziano Vecellio)

The Museo del Prado has two paintings of this Gospel episode (Matthew 27: 32-33; Mark 21-22; Luke 23: 26-27) which narrates how Simon of Cyrene had to carry the cross for the exhausted Christ on the way to Golgotha. Although they were painted only five years apart, the paintings show obvious stylistic and conceptual differences.The earlier of the two (P439) has stronger narrative drive and shows C

Venus with an Organist and Cupid
Oil on canvas. Ca. 1555
Titian (Tiziano Vecellio)
Venus with an Organist and Cupid
Oil on canvas. Ca. 1555
Titian (Tiziano Vecellio)

Titian painted five images of Venus and music, but those five variations on a single theme were not made for the same client, nor intended to be exhibited together. Set in a villa, they show Venus reclining before a large window. At her feet, an organist (in the versions at the Museo del Prado and the Staatliche Museen in Berlin) or a lutenist (at the Metropolitan Museum of New York and the Fitzwi

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

Empress Isabella of Portugal
Oil on canvas. 1548
Titian (Tiziano Vecellio)
Empress Isabella of Portugal
Oil on canvas. 1548
Titian (Tiziano Vecellio)

The portraits that Titian painted of Isabella (1503-1539), daughter of King Manuel of Portugal and wife of Charles V from 1526, constitute one of the most moving episodes within Renaissance art. When the empress died, Charles found that he did not have her portrait, so he tried to recover the one that his deceased wife had sent years earlier to Margaret of Austria. In November 1539 he received thi

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

Triptych of the Redemption: Tribute to Caesar (Jesus and an Apostle)
Grisaille, Oil on panel. Ca. 1450
Master Of The Prado Redemption
Triptych of the Redemption: Tribute to Caesar (Jesus and an Apostle)
Grisaille, Oil on panel. Ca. 1450
Master Of The Prado Redemption

This triptych is the principal creation and the work that has given the name to an anonymous follower of Rogier van der Weyden, previously identified as Vrancke van der Stockt.When open the triptych shows the Expulsion from the Garden of Eden, the Crucifixion and the Last Judgment. The scenes were located beneath Gothic canopies in which various sculptural groups completed the redemptive message,

The Arrival of the Trojans at the Strophades Islands and the Attack of the Harpies
Oil on canvas. 1520 - 1526
Dossi, Dosso
The Arrival of the Trojans at the Strophades Islands and the Attack of the Harpies
Oil on canvas. 1520 - 1526
Dossi, Dosso

For the decoration of one of the rooms in Duke Alfonso I of Ferrara’s private apartments in the capital of his duchy, Dosso Dossi executed a frieze comprising ten horizontal canvases of episodes from Virgil’s Aeneid, of which this new acquisition is one. It depicts the attack by the fearful Harpies on the Trojans as they were carousing in the Strophades Islands. Titian’s celebrated Bacchanals, als

Venus with an Organist and a Dog
Oil on canvas. Ca. 1550
Titian (Tiziano Vecellio)
Venus with an Organist and a Dog
Oil on canvas. Ca. 1550
Titian (Tiziano Vecellio)

In contrast to the paintings created for the Camerino d´Alabastro and the poesie made for Philip II, the canvases on the subject of Venus do not form a homogenous group as they were not painted for one client, nor were they designed to be shown together. In fact, the five paintings on this subject are variations on one idea. Located in a villa on the Venetian terra ferma, they depict Venus reclini

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