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Luis de Carvajal was a Toledan painter who trained in Rome and subsequently at El Escorial, a flourishing centre for Spanish painting in the first half of the seventeenth century. The manner in which [+]
The Evangelist, identified by the chalice he holds in his hand, protects four female donors dressed in plain devotional habits. In the background, Coecke provides a vision of Hell that reflects the st [+]
This work´s existence and interest were noticed by Valencian specialist and director of that city´s Museum of Fine Arts, Fernando Benito Domenech. That museum´s Juan de Juanes exhibition in 2000 inclu [+]
Eugenio was the son of Tuscan painter Patricio Cajés, who came to Spain to work for Philip II at the monastery of El Escorial. His mother, Casilda de la Fuente, was Spanish. He began studying p [+]
A high surface acts as a sort of altar bearing an image of the Virgin and Child with Saint Joseph behind them. Saint John the Evangelist and Saint Ildephonsus stand at a lower level in front, flanking [+]
The present Adoration of the Shepherds has been identified with the main part of an altarpiece made for Valencian silk maker Jacobo Perpinya. That altarpiece is topped by a representation of the Incar [+]
This New Testament scene depicts the Descent from the Cross of Christ´s body (Matthew 28, 57-61; Mark 15, 42-47; Luke 23, 50-55; John 19, 38-42). Joseph of Arimathea, Nicodemus and Saint John the Evan [+]
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 [+]
Calvary and The Descent from the Cross were two of the most frequent subjects in Pedro de Campaña’s oeuvre. Their content, as well as the painter’s Flemish training, explain his manner of empha [+]
Christ returned to life, triumphant alongside the sarcophagus that held his body for three days after his death on Golgotha, was a frequent subject in Correa´s work. The retable for the convent of the [+]
The Apostles sleep in the foreground, indifferent to the suffering of Christ who is attended by angels. One holds a chalice, prefiguring the Passion. The artist looked to Correggio (c. 1489-1534) in t [+]
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 hi [+]
This companion to The Rape of Ganymede (P119) is Eugenio Cajés’s copy of one of Antonio Corregio’s most famous and important paintings, which was in Spain’s Royal Collections. It presents an er [+]
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Religion succoured by Spain (c.1572-75), belongs to the last group of paintings that Titian sent to Philip II in 1576, one year before the artist’s death. As such, it is almost seven decades older tha [+]
Between 1635 and 1636 Sacchi left Bologna in order to study the work of Correggio (c. 1489-1534) and the Venetian painters. Before leaving he painted a portrait of his teacher, Albani (1578-1660), age [+]
A group of shepherds surround the Virgin and Child with different expressions of adoration, defining a broad semicircle which includes Saint Joseph, who is seated, and the painter himself, who appears [+]
Allende-Salazar y Sánchez Cantón adjudicaron la paternidad de esta obra al pintor flamenco Lucas de Heere (Gante, 1534-1584). Para su identificación tan sólo contaron con el apoyo del estilo, la edad [+]
