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Christ among the Doctors in the Temple
Oil on canvas. Ca. 1560
Veronese, Paolo (Paolo Cagliari)
Christ among the Doctors in the Temple
Oil on canvas. Ca. 1560
Veronese, Paolo (Paolo Cagliari)

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

Daniele Barbaro, Patriarch of Aquileia
Oil on canvas. Ca. 1545
Titian (Tiziano Vecellio)
Daniele Barbaro, Patriarch of Aquileia
Oil on canvas. Ca. 1545
Titian (Tiziano Vecellio)

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 Glory
Oil on canvas. 1551 - 1554
Titian (Tiziano Vecellio)
The Glory
Oil on canvas. 1551 - 1554
Titian (Tiziano Vecellio)

Charles V commissioned The Glory from Titian during their meeting in Augsburg in 1550-51. The painting was completed in October 1554 and was sent to Brussels. The unusual composition, which must correspond to precise instructions on the part of the emperor, as Gronau noted, is presided over by the Trinity, with the Virgin and behind her Saint John the Baptist -theologically the two principal inter

Philip II
Oil on canvas. 1549 - 1550
Titian (Tiziano Vecellio) (Workshop Of)
Philip II
Oil on canvas. 1549 - 1550
Titian (Tiziano Vecellio) (Workshop Of)

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 painter´s previous patrons both in the number of commissions and in their variety. Unlike his father, Emperor Charles V (r. 1519-56), Philip was not satisfied with only portraits and devotional works; h

Saint Veronica
Oil on canvas. 1620 - 1625
Strozzi, Bernardo
Saint Veronica
Oil on canvas. 1620 - 1625
Strozzi, Bernardo

Bernardo Strozzi was one of Genoa´s most outstanding early Baroque artists, and his work exemplifies the qualities and evolution of painting in the Ligurian capital. Moreover, his practice forged a brilliant artistic link between Genoa and Venice. Known as Il Prete Genovese, because he was a Capuchin monk, Strozzi received early training in the late Mannerist tradition from Cesare Corte (1550-c.16

Empress Isabella of Portugal
Oil on canvas. 1548
Titian (Tiziano Vecellio)
Empress Isabella of Portugal
Oil on canvas. 1548
Titian (Tiziano Vecellio)

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 the empress died, Charles found that he did not have her portrait, so he tried to recover the one that his deceased wife had sent years earlier to Margaret of Austria. In November 1539 he received thi

Prince Don Carlos
Oil on canvas. 1555 - 1559
Sánchez Coello, Alonso
Prince Don Carlos
Oil on canvas. 1555 - 1559
Sánchez Coello, Alonso

This portrait depicts Prince Carlos (1545-1568), heir to the Spanish throne and son of Felipe II (1556-1598), by his first wife and cousin, Manuela de Portugal (1528-1545). This work idealizes the Prince´s face and body when, in fact, he was born with grave physical and psychological malformations that may have been due to his parents´ inbreeding. Both his clothing —a cape lined with lynx fur and

Emperor Maximilian II
Oil on canvas. 1550
Mor, Anthonis
Emperor Maximilian II
Oil on canvas. 1550
Mor, Anthonis

The son of Ferdinand of Austria, then King of Romans and next emperor (1556-1564) of the Germanic Holy Roman Empire, and his wife Anna Jagellonica, queen of Hungary and Bohemia, was born in Vienna on 1 August 1527. He was educated in Spain alongside his cousin, the future Philip II, and from an early age practiced the profession of arms, later on entering combat on the side of Emperor Charles V (1

The Dead Christ venerated by Pius V
Oil on copperplate. Ca. 1572
Parrasio, Michele
The Dead Christ venerated by Pius V
Oil on copperplate. Ca. 1572
Parrasio, Michele

Christ lies dead on a bed beside which Pope Pius V kneels, surrounded by angels. Above them, two angels hold a chalice and a communion wafer, symbols of his death and resurrection. On the lower part of the painting, the skeleton of Adam alludes to the first man and the redemption of Original Sin. Divers elements of the Passion appear on the bed and floor, such as the Crown of Thorns and the Whip.

Giovanni Battista Caselli, Poet from Cremona
Oil on canvas. 1557 - 1558
Anguissola, Sofonisba
Giovanni Battista Caselli, Poet from Cremona
Oil on canvas. 1557 - 1558
Anguissola, Sofonisba

The identification of this elderly gentleman sitting at a desk in his study is borne out by the inscription on the fore edge of the book he is writing in, which displays the words "rime del casellio". Giovanni Battista Caselli was a poet and medal engraver who enjoyed certain prominence in Cremona during his lifetime, though there is little reliable information about him today. Nevertheless, Casel

Christ on the Way to Calvary
Oil on oak panel. Ca. 1547
Kempeneer, Pieter
Christ on the Way to Calvary
Oil on oak panel. Ca. 1547
Kempeneer, Pieter

Until this donation by Placido Arango in 2015, the Museo del Prado had no paintings by Pieter van Kempeneer, an artist born in Brussels and first documented in Seville in 1537 after a period spent in Italy (Bologna, Venice and Rome). Known as Pedro de Campaña in Spain, Kempeneer remained here until 1563 before returning to his hometown. His oeuvre is characterized by numerous altarpieces an

Philip II
Oil on panel. 1555 - 1558
Mor, Anthonis
Philip II
Oil on panel. 1555 - 1558
Mor, Anthonis

Philip II, the son of Charles V and Isabella of Portugal, was born in 1527. He married four times, and was king of Spain from 1556 until his death in 1598. This small painting was a study for a portrait of the young king, and must have been produced before 1557. Mor portrays the king with the impassive gaze, and the detached, majestic bearing found in all his portraits.

The Emperor Charles V at Yuste
Oil on canvas. 1877
Jadraque y Sánchez Ocaña, Miguel
The Emperor Charles V at Yuste
Oil on canvas. 1877
Jadraque y Sánchez Ocaña, Miguel

Carlos V (Gante, 1500-Yuste, 1558), rey de España (1516-1556) y emperador de Alemania (1520-1558), aparece representado en un interior, sentado a la izquierda, mirando de perfil hacia el lado opuesto, mientras observa unas figuras móviles colocadas encima de la mesa, hechas por el ingeniero e inventor Juanelo Turriano (Crémona, Italia, 1501-Toledo, 1585), que aparece en pie junto a él. A la derech

Saint Jerome in Penitence
Oil on canvas. 1546
Lotto, Lorenzo
Saint Jerome in Penitence
Oil on canvas. 1546
Lotto, Lorenzo

Lorenzo Lotto`s various depictions of the penitent Saint Jerome span early versions influenced by Albrecht Dürer and Giovanni Bellini (Musée du Louvre, Paris, 1506) and by young Raphael (Museo Nazionale di Castel Sant`Angelo, Rome, c.1509), to his most personal interpretations from the 1540s. Lotto`s Libro dei Conti (Book of Accounts) lists four paintings between 1544 and 1546 with thi

Mary Tudor, Queen of England
Oil on panel. 1554
Mor, Anthonis
Mary Tudor, Queen of England
Oil on panel. 1554
Mor, Anthonis

The daughter of Henry VIII and of Catherine of Aragon, Mary (1516-1558) was proclaimed Queen of England in 1553 and restored the Catholic faith in England. Given the advantages to Spain of a union with England and in the light of the Emperor’s refusal to marry her (despite having been betrothed to her for some years), Mary of Hungary convinced Mary Tudor to marry Prince Philip, who was eleven year

Design for an Altarpiece, with the Virgin and Child Appearing to Four Saints
Pencil, Pencil ground, Red chalk, Grey-brown ink, Wash on yellow paper. Early XVII century
Passignano (Attributed To)
Design for an Altarpiece, with the Virgin and Child Appearing to Four Saints
Pencil, Pencil ground, Red chalk, Grey-brown ink, Wash on yellow paper. Early XVII century
Passignano (Attributed To)

There seems little stylistic evidence to support the traditional attribution to Passignano. The drawing may be Cremonese, since there is some resemblance to the work of Giovanni Battista Trotti, called "Malosso" (1556-1619) and of his pupil and associate Ermenegildo Lodi (fl. 1594-1630). St. Andrew is one of the four saints represented. The altarpiece was probably commissioned to decorate the chur

Two angels
Red chalk on yellow paper. Ca. 1600
Anonymous
Two angels
Red chalk on yellow paper. Ca. 1600
Anonymous

Although traditionally attributed to Parmigianino (1503-1540), the style seems to suggest a later period, around 1600. The draftsman appears to have been acquainted with the work of Bartolomeo Cesi (1556-1629), Ercole Procaccini the Younger (1605-1675/80), as well as other artist active in Emilia and Lombardy at the beginning of the seventeenth century.

Pharaoh´s daughter with two serving-maids, tending the infant Moses
Pencil, Grey-brown ink, White lead, Wash on brown paper. Late XVI century
Anonymous
Pharaoh´s daughter with two serving-maids, tending the infant Moses
Pencil, Grey-brown ink, White lead, Wash on brown paper. Late XVI century
Anonymous

The drawing, which seems little more than a copy, carries an old attibution to Antonio Vassilacchi, l´Aliense (1556-1629). The composition indeed seems Venetian.

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