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Jerónimo Vich y Valterra (1459-1535) was Spain’s ambassador to Rome between 1506 and 1521, under the reigns of Ferdinand the Catholic and Charles V. Vich commissioned Sebastiano del Piombo to p [+]
Although for this first version Jacopo borrowed elements from early works such as the young man peeking his head round the column, which appears in the 1536 La fornace ardente (Bassano del Grappa, Mus [+]
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 [+]
In this half-length portrait, the young man wears a red cap and holds a musical instrument that combine features of both the vihuela and the violin. While only partially visible, its fretted neck sugg [+]
Christ is depicted here in a frontal pose, as “Salvator Mundi”; his hand is raised in blessing, and he holds an orb. Although thought to be from the workshop of Van Cleve, this panel differs from the [+]
This painter is one of the most outstanding and singular representatives of the early Renaissance in Palencia. While there are no extant documents to prove it, this work must somehow be connected with [+]
Educated as a young man in France and Florence, in 1527 Pier Maria Rossi (1504-1547), Seventh Count of San Secondo, was in the service of Clement VII but that same year entered the employment of Charl [+]
Piombo was the Italian painter most in demand by Spanish clients during the first half of the sixteenth century. Fernando de Silva, Count of Cifuentes and ambassador to Rome from 1533 to 1536, commiss [+]
This panel was part of The Nativity Altarpiece formerly in the monastery of Guisando (Avila). It depicts the meeting between Mary and her cousin Saint Elizabeth, both of them pregnant, the former with [+]
Masip depicts this fourth-century Roman saint´s second martyrdom, when, after having been condemned to be burned at the stake, the flames miraculously failed to touch her body and she was finall [+]
A domestic scene filled with tenderness showing the Virgin Mary winding a skein of thread and watching the Christ Child, who leans on Saint Joseph while he plays with a little bird and a dog. The almo [+]
The Birth of the Virgin at the Museo del Prado, the only painting on this subject by the hand of Luis de Morales and a work that remained unpublished until 2003, and the two pieces at the Museum Schlo [+]
This panel depicts the moment prior to Christ’s capture and the start of his Passion. After the last supper with his disciples, Christ departs in the company of Peter, James and John. While he prays i [+]
The great charm of this still life has evidently long been apparent to lovers of painting, since it is first recorded in the collection of Gaspar de Haro, later VII Marqués del Carpio (1651), w [+]
This panel was part of a door of The Nativity Altarpiece from the monastery of Guisando (Avila). It dates from Correa’s early period and reveals the influence of his northern European master, Juan de [+]
Before being attributed to Massys, this panel was thought to be by Patinir or Henri met de Bles, because of the “cosmic” panoramic landscape, a bird’s eye view with a very high horizon. Unlike in thei [+]
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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 [+]
