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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 pewter, possibly silver, plate holding a small pile of plums (or sloes), and cherries. As is habitual in this type of work, the plate is placed in the close foreground, sitting on the edge of a stone ledge
In this three-quarter length standing portrait, the unknown lady is wearing a rich, slashed dress with loose sleeves in the Turkish fashion, decorated with gold brocade; the dress is adorned with the gold chains which give the portrait its title. Her face is highlighted against the dark background, and she gazes directly at the viewer, as in all Mor’s portraits.
This painting formed part of the Altar Piece of San Esteban (Valencia), the most celebrated work by Juanes, who came from Valencia. The scenes included the most important episodes in the life of the saint, considered to be the first martyr of Christianity. According to the Acts of the Apostles , the preaching of Saint Stephen aroused the suspicions of the Sanhedrin and he was accused of destroying
Painted for the base of the main altarpiece of San Esteban in Valencia (P00838, P00839, P00840, P00841 and P00842), Inspired by Leonardo, both in the definition of the space and in the eloquent expressiveness of the apostles, it also shows Juanes’s close relationship with Raphael. In keeping with traditional iconography in Spain, he focussed the scene on Jesus, serene and triumphant at the moment
A surgeon extracts a stone from a patient´s head. The scene takes place in an urban setting, probably a market. An aged helper holds the patient´s head, along with a youth, who prepares the unguents. Meanwhile, another patient grimaces grotesquely while waiting his turn. Hemessen criticizes the defrauding of patients by depicting the doctor with a sarcastic expression that reveals him as an impost
A depiction of the New Testament story (Acts 7, 58) Saint Stephen was condemned to stoning after angering the priests of the Sanhedrin assembly. This scene represents the moment when he is taken out of the city and led to martyrdom, by the executioners at the doors of Jerusalem, just as Christ was, on Calvary. Juanes differs from his father´s style I by accenting the ugliness of the executioners,
Previously catalogued as Portrait of Titian’s Daughter Lavinia Vecellio by Veronese, this canvas of an unknown sitter was painted in Titian’s studio. The lively face, probably painted by Titian himself, contrasts with the routine treatment of the clothing, which is the work of assistants.
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, and later found him in the Temple, arguing with the doctors. Christ´s theological superiority is emphasized by his placement towards the top of the composition´s axis. The doctors look on as he enumerat
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 Majesty has. This painting was completed in 1554 and can be identified with The Virgin Dolorosa with her Hands joined (P443). In another letter of 1554 there is a reference to another Virgin Dolorosa
Purchased by Charles IV, this portrait entered the royal collections in 1814 and was already listed in the Museo del Prado’s catalogs in 1854 as a work by Juan de Juanes. The identity of the sitter has varied since José de Madrazo suggested it was Luis Castelví, Lord of Carlet. Today, lacking unanimous agreement, it is generally accepted as a likeness of the Lord of Bicorp y Quera, L
Painted in Bergamo, this canvas reveals Moroni’s innate gifts as a portraitist, which were based on his remarkable ability to offer an objective depiction of real life in which the Lombardo-Venetian tradition combined with his knowledge of northern art. Moroni was more concerned to convey his sitters’ physical appearance or social position than to investigate their personality in any depth. The id
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
This view reflects the new approach to mountain landscapes introduced by Pieter Bruegel the Elder in the 1550s. In comparison to Patinir’s fragmented vision, it presents the landscape as a completed whole. The mountains are the real subject of the work, with the figures merely pretexts for depicting them.
Juan de Juanes depicts the episode in the Acts of the Apostles when Saint Stephen declared before the Sanhedrin: “I see the heavens opened and the Son of Man standing on the right hand of God.” When they heard him the priests “cried out with a loud voice and stopped their ears and rushed together at him” (Acts 7, 56 and 57). The classical architecture of the temple is a striking element in the com
The Recapture of Bahía de Todos los Santos was commissioned from Maíno towards the end of 1634. The artist was still working on it on 24 March 1635, date on which he received the first 18,600 maravedíes on account, corresponding to an order of payment from the Chief Notary of the Council of Aragon, Jerónimo de Villanueva (died 1653). Maíno completed the painting
This painting forms part of the Altarpiece of San Esteban (Valencia), along with other scenes from the saint´s life (P00838, P00839, P00841 and P00842), as well as the Last Supper (P00846). According to the Acts of the Apostles, Saint Stephen was condemned to stoning after angering the priests of the Sanhedrin assembly. While he commends his soul to God, the executioners angrily stone Stephen, who
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 then at Padua University. A philosopher of neo-Aristotelian leanings, he became friends with important Venetian humanists, some of whom were also portrayed by Titian, such as Pietro Bembo (Washington,
The doubts that existed regarding the dating of this work were increased when the sitter was identified. He is documented from 1544 in the accounts of Prince Philip (later Philip II) as Pero Hernández de la Cruz, known as Perejón, one of the two ‘Pericos’ whose role at Court was to amuse the prince. The inventory of the Alcázar in Madrid of 1636 confirms this identification th
