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Ecce Homo
Oil on panel. 1560 - 1570
Morales, Luis de
Ecce Homo
Oil on panel. 1560 - 1570
Morales, Luis de

Jesus is shown half-length, crowned with thorns and with a haggard face, parted lips, prominent cheekbones, and moist eyes raised in an attitude of submission to the divine will. His hair, beard, moustache and eyelashes are minutely rendered in a light brown colour. Similarly detailed is the treatment of the tears and drops of blood. The latter, caused by the thorns piercing his forehead and the w

The Annuncation
Oil on panel. Ca. 1565
Morales, Luis de
The Annuncation
Oil on panel. Ca. 1565
Morales, Luis de

In a single sequence, the painting shows the Archangel Gabriel’s greeting to Mary, his announce ment to her that she has been designated as the mother of the son of God, and her acceptance of the divine will (Luke, 1, 26-38). St Gabriel appears on the viewer’s left, kneeling before the Virgin. He is covered in a white tunic constructed with a rich array of solidly drawn folds interspersed with a s

The Adoration of the Magi
Oil on panel. 1565 - 1570
Morales, Luis de
The Adoration of the Magi
Oil on panel. 1565 - 1570
Morales, Luis de

It is extremely likely that these two panels, -The Adoration of the Magi and The Adoration of the Shepherds-, similar in format, measurements and style, belonged to the predella of the same altarpiece, since both have the usual configuration of paintings destined for this type of placement, and the compositional design in each case displays similarities in the size and arrangement of the figures a

The Birth of the Virgin
Oil on panel. 1562 - 1567
Morales, Luis de
The Birth of the Virgin
Oil on panel. 1562 - 1567
Morales, Luis de

The Birth of the Virgin at the Museo del Prado, the only painting on this subject by the hand of Luis de Morales and a work that remained unpublished until 2003, and the two pieces at the Museum Schloss Fasanerie in Eichenzell, The Presentation in the Temple and The Visitation, which are little known in Spain, belong in all probability, as Gabriele Finaldi pointed out, to one and the same set, a j

The Virgin and Child
Oil on panel. Ca. 1565
Morales, Luis de
The Virgin and Child
Oil on panel. Ca. 1565
Morales, Luis de

This is one of Morales’s most characteristic and best-known paintings, both because of its technical quality, its domestic format and its apparently tender and heartwarming subject, and also because it is one of the works by the painter that have been exhibited continuously ever since first entering the Prado. It joined the Museum’s holdings in 1916 after the Royal Board of Trustees had accepted t

Christ Justifying his Passion
Oil on panel. Ca. 1565
Morales, Luis de
Christ Justifying his Passion
Oil on panel. Ca. 1565
Morales, Luis de

This work is an example of an exceptional iconography within the subject matter habitually dedicated to the Passion by the painter, and even within that of the European art of his time as a whole. Although his most frequent subjects were the traditional ones of the Ecce Homo (alone or accompanied by executioners, by Pontius Pilate and an executioner, or by the Virgin and St John), Christ at the Co

The Virgin Dolorosa
Oil on panel. 1560 - 1570
Morales, Luis de
The Virgin Dolorosa
Oil on panel. 1560 - 1570
Morales, Luis de

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 white coif. The iconography of the Mater Dolorosa does not appear in the gospels, but is a creation that emerges from the exaltation of pathos at the end of the Middle Ages. Nevertheless, the episode alwa

The Virgin Nursing the Child
Oil on panel. Ca. 1565
Morales, Luis de
The Virgin Nursing the Child
Oil on panel. Ca. 1565
Morales, Luis de

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 avoids both the representation of Mary’s nude breast and explicit lactation. With both hands, Mary holds a Child who seeks maternal consolation, lifting the veil with one hand and touching the modestly c

The Virgin nursing the Child
Oil on panel. 1560 - 1565
Morales, Luis de
The Virgin nursing the Child
Oil on panel. 1560 - 1565
Morales, Luis de

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 avoids both the representation of Mary’s nude breast and explicit lactation. With both hands, Mary holds a Child who seeks maternal consolation, lifting the veil with one hand and touching the modestly c

The Virgin Nursing the Child
Oil on panel. Ca. 1565
Morales, Luis de
The Virgin Nursing the Child
Oil on panel. Ca. 1565
Morales, Luis de

In this presentation of the Virgin breastfeeding the Christ Child, Morales discreetly avoids showing her naked breast, in line with his habitual practice. Through the restlessness of the Christ Child, seen from behind as he seeks his mother’s consoling breast, and Mary’s pensive expression the artist suggests the infant’s redemptive fate.

The Agony in the Garden
Oil on panel. Ca. 1545
Morales, Luis de
The Agony in the Garden
Oil on panel. Ca. 1545
Morales, Luis de

Christ’s prayer on the Mount of Olives is the gospel episode that precedes his arrest and the beginning of his Passion and death on the cross. After the last supper with his disciples, Jesus withdraws with three of them, Peter and the two sons of Zebedee, James and John, to the nearby garden of Gethsemane. According to St Luke’s Gospel, he was withdrawn from them about a stone’s cast, and kneeled

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