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Allegory of Temperance
Oil on panel. 1513 - 1516
Berruguete, Alonso
Allegory of Temperance
Oil on panel. 1513 - 1516
Berruguete, Alonso

This painting is among the few known works from Berruguete’s formative years in Florence and Rome, the latter depicted in the background. The bridle bit, the hand on the breast and the laurel wreath allude to the subjugation of the instincts by reason and temperament.

The Holy Family with Angels
Oil on panel. Ca. 1524
Parmigianino. Girolamo Francesco Maria Mazzola
The Holy Family with Angels
Oil on panel. Ca. 1524
Parmigianino. Girolamo Francesco Maria Mazzola

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 reveals the grace that Vasari considered the greatest aesthetic quality of any painting: a gift of nature impossible to learn, combining beauty, delicacy and sweetness.

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

The Virgin in Prayer
Oil on oak panel. Ca. 1529
Massys, Quinten
The Virgin in Prayer
Oil on oak panel. Ca. 1529
Massys, Quinten

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 Mary (P1562) were described in the Escorial as two “doors” of the same object. They may have been acquired as separate paintings and then hinged together as a diptych in the Royal Collection. Some sch

The Descent from the Cross
Oil on copperplate. Ca. 1550
Allori, Alessandro
The Descent from the Cross
Oil on copperplate. Ca. 1550
Allori, Alessandro

Christ´s dead body is taken off the Cross by Joseph of Arimathea, Nicodemus and Saint John the Evangelist. Among the people at his feet are the Virgin Mary, the mother of Joseph —also called Mary— as well as Salomé and Mary Magdalene, who raises her arms as a sign of her suffering. The good and bad thieves are crucified on trees. This scene follows the New Testament story of the Jesus´ desc

Federico Gonzaga, Ist Duke of Mantua
Oil on panel. 1529
Titian (Tiziano Vecellio)
Federico Gonzaga, Ist Duke of Mantua
Oil on panel. 1529
Titian (Tiziano Vecellio)

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 finito (because he has started a portrait of me which I greatly desire to be finished). In 1530 a second portrait of Federico in armour is also recorded. Typologically and conceptually, the present por

Bird Seller
Oil on canvas. 1615 - 1620
Pensionante de Saraceni
Bird Seller
Oil on canvas. 1615 - 1620
Pensionante de Saraceni

A bird seller is tricked by a young man who shows him some coins with the right hand while robbing a rooster with the left. While the nationality of this artist is unknown, he seems to have learned his craft in Italy as his work shows a preference for the naturalistic approach of Caravaggio (1571-1610), and for some concepts of the Venetian school. His curious nickname comes from a certain similar

Leda and the Swan
Oil on panel. 1529 - 1550
Pencz, Georg
Leda and the Swan
Oil on panel. 1529 - 1550
Pencz, Georg

As in the case of Leonardo with his depiction of this story from Ovid’s Metamorphoses, the German artist Georg Pencz was inspired by classical sculpture (in this case the Sleeping Ariadne) to depict the seduction of the Aetolian princess by Zeus, transformed into a swan. In contrast to the Renaissance visual tradition, the swan does not wrap itself around Leda but rather flirts with her, allowing

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

Portrait of don Rodrigo Vázquez de Arce
Oil on canvas. Ca. 1590
Anonymous
Portrait of don Rodrigo Vázquez de Arce
Oil on canvas. Ca. 1590
Anonymous

Considered a copy of a portrait by El Greco, the more detailed technique deployed here lacks the loose boldness of his brushstroke but the composition and some of the elements within it remain close to his approach. El Greco would have known the sitter (1529-1600), a celebrated jurist and a member of the Councils of Castile and of Finance.

The Martyrdom of Father Andrés, Prior of the Seiz Charterhouse
Oil on canvas. 1626 - 1632
Carducho, Vicente
The Martyrdom of Father Andrés, Prior of the Seiz Charterhouse
Oil on canvas. 1626 - 1632
Carducho, Vicente

On August 29, 1626, King Philip IV’s painter, Vicente Carducho (ca. 1576-1638), signed a contract for the creation of a cycle of paintings to celebrate the founding of the Carthusian Order by Saint Bruno and its leading members. This colossal undertaking sought to visually narrate numerous episodes from the Carthusians’ history and tradition. It was the most complete commission ever dedicated to t

Portrait of a Gentleman
Oil on panel. 1550 - 1555
Volterra, Daniele Ricciarelli Da
Portrait of a Gentleman
Oil on panel. 1550 - 1555
Volterra, Daniele Ricciarelli Da

Michel Hochmann identified the painting in the Capodimonte as the ‘Quadretto corniciato di pero tinto con un ritratto di un giovane, in pietra di Genova, di mano del medesimo [Daniele]’ refered to in the 1600 inventory of the possessions of the antiquarian Fulvio Orsini (1529–1600). The artist referred to is Daniele Ricciarelli, known as Daniele da Volterra, and the attribution of the work seems s

The Embrace at the Golden Gate; The Birth of the Virgin
Oil on panel. 1500 - 1535
Gascó, Perot
The Embrace at the Golden Gate; The Birth of the Virgin
Oil on panel. 1500 - 1535
Gascó, Perot

El Abrazo ante la puerta dorada y Nacimiento de la Virgen y la Visitación y Purificación (P001333) ocupan los compartimentos de dos calles laterales de un retablo no conservado. Fueron atribuidas al pintor vicense Joan Gascó por Sánchez Cantón en 1950. Joan Gascó, pintor oriundo de Navarra estableció a partir de 1503 un taller familiar de artistas en la ciudad de Vich: este taller, activo más de t

Christ the Saviour
Oil on oak panel. 1529
Massys, Quinten
Christ the Saviour
Oil on oak panel. 1529
Massys, Quinten

Quentin Massys was one of the leading Flemish painters of the late fifteenth and early sixteenth century and developed his professional career in Antwerp. The origin of this painting is unknown. It has belonged to the Royal Collection since the time of Philip II in the sixteenth century. The position of the figures, looking at each other, is common for diptych paintings. However, we do not know if

The Martyrdom of the Mauerbach Carthusians
Oil on canvas. 1632
Carducho, Vicente
The Martyrdom of the Mauerbach Carthusians
Oil on canvas. 1632
Carducho, Vicente

On August 29, 1626, King Philip IV’s painter, Vicente Carducho (ca. 1576-1638), signed a contract for the creation of a cycle of paintings to celebrate the founding of the Carthusian Order by Saint Bruno and its leading members. This colossal undertaking sought to visually narrate numerous episodes from the Carthusians’ history and tradition. It was the most complete commission ever dedicated to t

Bearded man, three quarter lenght
Pencil, Grey-brown ink on paper. Ca. 1600
Anonymous
Bearded man, three quarter lenght
Pencil, Grey-brown ink on paper. Ca. 1600
Anonymous

Formerly attributed to Bartolomeo Passerotti (1529-1592), presumably on account of the broad cross-hatching in pen, a technique that is characteristic of drawings by this artist. On the other hand, the figure-type employed in the man´s head seem distinctly Florentine, and the handling perhaps more suggestive of the pen drawings of the Florentine Sigismondo Coccapani (1583-1643).

Draped Female Figure [the Virgin at the Foot of the Cross (¿?)]
Pencil, Grey-brown ink, White lead, Wash on grey paper. Second half of the XVI century
Trometta (Attributed To)
Draped Female Figure [the Virgin at the Foot of the Cross (¿?)]
Pencil, Grey-brown ink, White lead, Wash on grey paper. Second half of the XVI century
Trometta (Attributed To)

Traditionally given to Polidoro da Caravaggio (c. 1499-ca. 1543). The figure´s pose and the handling of the media suggest the work of an artist from the circle of Taddeo Zuccaro (1529-1566). Especially suggestive of the latter´s influence are the heavily applied passages of white heightening and the rounded folds of drapery at the figure´s waist. The writer suggests that this drawing could be by

The Holy Family seated in an interior
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous
The Holy Family seated in an interior
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. XVI century
Anonymous

On the verso are extensive notes about the Flemish sculptor Pietro Francavilla (1548-1615). Francavilla received his early training in Paris and Innsbruck. Archduke Ferdinand of Austria provided him with a letter of introduction to Giambologna, and he transferred to Florence in c. 1570, becoming the latter´s partner. He remained in Florence for much of his career, travelling at times to other cent

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