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Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first [+]
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 canvas presents one of the most persistent subjects in Pedro Orrente´s substantial output: the Nativity and the Adoration of the shepherds, a popular theme among seventeenth-century Spanish [+]
Charles II was born in 1661, the only son of Philip IV and his second wife (and niece), Mariana of Austria, to survive to adulthood. Charles succeeded his father in 1665 and died without an heir in 17 [+]
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 [+]
Joanna of Austria (1535-73) was the daughter of Emperor Charles V, and sister of King Philip II of Spain. In 1552, she married her first cousin, the Portuguese Prince John Manuel (Joao Manuel). The pr [+]
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 [+]
Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first [+]
This night scene is set in a narrow, irregular space -a sort of grotto with a gabled opening in the back, consisting of two semi-circular arches. Mary holds her newborn Son, naked on her lap, while Sa [+]
A posthumous portrait of Felipe II wearing full body armor, a cape and a hat and riding a horse. Victory crowns him with laurels. The background alludes to a battle, probably that of San Quentí [+]
This portrait is a full-length likeness of Philip II’s third wife, Queen Isabel de Valois. She wears a black gown with pointed sleeves and a long train that is curled around her body and billows at th [+]
Dressed in the habit of a Knight of Saint James, the subject of this portrait kneels in prayer. An armored knight standing at his side and looking to the heavens may well be Saint Louis, King of Franc [+]
El juego representado en este cartón para tapiz corresponde a la descripción del juego de bochas en el Diccionario de Autoridades de 1726: “Juego que se juega entre dos o más personas con unas bolas m [+]
Juana de Austria, hija de Carlos V, se casó con el príncipe Juan de Portugal por poderes el 11 de enero de 1552. Este retrato es una de las distintas versiones de la misma composición: se cree que tod [+]
Titian painted his first self-portrait before leaving for Rome in 1545. However, it was after his Roman stay that he showed the most interest in disseminating his image in order to fully establish his [+]
Between the vegetation of La Herrería and a sky that silhouettes the mountains, the southern façade of the Royal Seat of San Lorenzo, perhaps the most balanced of the entire edifice, sta [+]
This portrait signed by Lucia Anguissola is acknowledged as the most important of the few works produced by Sofonisba’s younger sister. In keeping with Lombard painting of the period, she depicts this [+]
Antonio Correggio’s stay in Rome between 1518 and 1519 powerfully affected his late work, which reflects that of late Raphael and the Michelangelo of the Sistine Chapel. Without ever abandoning Andrea [+]
