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In this three-quarter portrait Queen Isabel de Valois (1546-1568) wears a black velvet gown with round sleeves from which her slashed red silk undersleeves embroidered with gold and silver thread peep [+]
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 1 [+]
Renaissance painting abounds with representations of Christ bearing the cross on the road to Calvary, either as an isolated figure, or with an executioner assailing him, or accompanied by soldiers, cu [+]
A bird seller is tricked by a young man who shows him some coins with the right hand while robbing a rooster with the left. While the nationality of this artist is unknown, he seems to have learned hi [+]
In this painting, Ceres, goddess of agriculture and fertility, is surrounded by fruits and flowers, pictured as the personification of Abundance holding the horn of plenty in her hands. The history of [+]
The Florentine Bartolomé Carducho arrived at the royal monastery of El Escorial in 1585, two years after El Greco had completed The Martyrdom of Saint Maurice for that building. Philip II was u [+]
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 [+]
Although no entirely autograph painting of this subject survives, Titian painted it on numerous occasions, both as a single figure and within larger compositions. In 1648, for example, Ridolfi mention [+]
Born in Cremona, Campi’s style combined Mannerist elements, such as the contorted bodies of the figures, and naturalistic ones, such as the detailed depiction of objects. In the late 1560s his paintin [+]
With a halo of sainthood over his head, Jesus extends his arm to the centurion who, having converted to the Christian faith, kneels at his feet, as told in the New Testament (Matthew 8, 5-13). The sce [+]
The Virgin Mary, turned slightly to the right, has her hands clasped in an imploring attitude, her gaze absent and her eyes flooded with tears. She wears a bluish-green robe, a violet tunic and a whit [+]
These works (P944 and P7948) embody a more decorous variation of the breastfeeding Madonna, a reference to the succour afforded by the Virgin to all believers. Morales designed a composition which avo [+]
Active mainly in Mechelen, Sellaert became familiar with Italian art first-hand during a trip in 1525. The figure of Charity was inspired by Leonardo’s Leda and the Swan. The inscription in Latin "Per [+]
These works (P7948 and P944) embody a more decorous variation of the breastfeeding Madonna, a reference to the succour afforded by the Virgin to all believers. Morales designed a composition which avo [+]
This complex and convincing composition painted from a frontal perspective appears to be divided into two well-connected halves. In the lower half, which is nearer the viewer, the artist has placed a [+]
Philip II owned two pictures of this saint painted by Titian. The first can be identified with the portrait of Saint Margaret mentioned by the painter in a letter sent to the then Prince Philip on II [+]
This work is an important addition to the Museo del Prado’s collection, as it is signed by an artist from the area of Toledo who made very few paintings. Indeed, the museum has only one other signed s [+]
Allende-Salazar y Sánchez Cantón adjudicaron la paternidad de esta obra al pintor flamenco Lucas de Heere (Gante, 1534-1584). Para su identificación tan sólo contaron con el apoyo del estilo, la edad [+]
