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Maria of Austria, the daughter of Charles V and Isabella of Portugal, was born in 1528. In 1548 she married her cousin, the Archduke Maximilian. She reigned as empress from 1564 to 1576, and in 1580 r [+]
This work illustrates the final passage of Christ´s childhood (Luke 2, 41-50) when, at the age of 12, he was taken to Jerusalem by his parents to celebrate Passover. Mary and Joseph lost their son, an [+]
We know from a letter of 30 June 1553 from the Spanish Ambassador in Venice that Titian was waiting for instructions from the emperor to paint a panel of Our Lady the same as the Ecce Homo which Your [+]
John Frederick I of Saxony (Torgau, 30 June 1503–Jena, 3 March 1554), Duke of Saxony-Wittenberg from 1532, was the principal defender of Luther, a fact that brought him into conflict with Charles V. I [+]
Described by Lodovico Dolce as a gentleman of great merit and infinite goodness, Daniele Barbaro (1513-1570) was from a noble Venetian family. He was educated to the highest level first in Verona and [+]
We know from a letter of 30 June 1553 from the Spanish Ambassador in Venice that Titian was waiting for instructions from the emperor to paint a panel of Our Lady the same as the Ecce Homo which Your [+]
Philip II (r. 1556-98) was Titian´s most important patron, and together they forged one of the most fruitful artistic relationships of the European Renaissance. Philip surpassed all of the Venetian pa [+]
This scene from the New Testament (John 13, 1-20) shows the moment just before the Last Supper, when Jesus washed Saint Peter´s feet as an example of humility and service to others. The displacement o [+]
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 [+]
Salviati belonged to a generation of Florentine painters characterised by the sophistication of their visual language and by a deliberate formal and conceptual complexity. Having trained with Andrea d [+]
In this half-length portrait, the lady is wearing a dark brown velvet overdress luxuriously ornamented with gold chain-stitched embroidery, slit sleeves, and a high collar open in front in the Flemish [+]
Like the Portrait of a Lady of the Van Beijeren van Schagen Family (P2976), this portrait is a representative example of Mierevelt`s work in this genre. The support is also constructed in the same way [+]
The literary source for the Furies is Ovid´s Metamorphoses (IV, 447-464) and Virgil´s Aeneid (VI, 457-8), which recounts the eternal sufferings in Hades of Tityus, whose liver was devoured by a vultur [+]
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 Bacc [+]
Philip II was Titian’s most important patron, and the pair’s artistic relationship was one of the most fecund of the Renaissance. They met twice while Philip was still a prince, in Milan (December 154 [+]
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 [+]
Although we do not know when Titian first treated this subject, it was probably in 1535, when he painted a Christ for Federico Gonzaga following a model provided by the duke. The earliest surviving Ec [+]
The unknown subject of this portrait has been identified, inconclusively, as either Gianello della Torre, a clockmaker at the Spanish court, or some member of the Cuccini family. Whether or not the fi [+]
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