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Taken together, these three works clearly convey a Eucharistic meaning. They depict Christ holding up the chalice and the Host (P00844), flanked by two Old Testament figures: King Melchizedek, bearing [+]
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 [+]
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 on [+]
Paolo Veronese`s Penitent Magdalene, 1583, reflects the change occurring in Venetian religious painting around 1580. On one hand, the new order of priorities imposed by the Council of Trent (1545-63) [+]
This Charity, one of the most important works by the Tuscan painter Portelli, derives from a work on the same subject by Francesco Salviati (1510-1563) now in the Uffizi, Florence, emulating its compo [+]
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 [+]
On 13 July 1558, Philip II asked Titian to make haste with the completion of an Agony in the Garden which the artist had agreed to finish one year earlier, but which was only sent to the monarch in 15 [+]
The first Poesie presented to Prince Philip were Danaë (1553, The Wellington Collection) and Venus and Adonis (1554), versions of other previous works, but endowed with all the prestige of the co [+]
This panel depicts the moment when the dead Christ’s body has been lowered from the cross and is attended at its foot by the Virgin, Saint John and Mary Magdalene. In the middle-ground are Joseph of A [+]
Unlike the adoration of the shepherds, which took place at night according to the gospel account, the nocturnal setting for the Holy Family´s flight into Egypt was an invention of the painter, since M [+]
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 [+]
Juan van der Hamen y León´s output alternates between compositionally complex still lifes and works that are smaller in size and constructed more simply, such as this canvas. It depicts a pewte [+]
Salome, an Edomite princess born of Herodias and the wife of Herod Philip I, carries the severed head of Saint John the Baptist on a tray, illustrating a Bible passage from Matthew (14:1–11) and Mark [+]
This scene from the life of Saint Bernard depicts the Virgin Mary’s apparition to the Cistercian monk and the miraculous milk he received from her breasts as thanks for his devotion. He is accompanied [+]
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 [+]
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´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 [+]
