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The dimensions, format, theme, support and pictorial style of these three works -The Crucifixion (P8211), Lamentation over the Dead Christ (Museo de Salamanca, CE 106) and The Resurrection (P8212)- all point towards a common provenance, an altarpiece with traditional subject matter linked to the Christological cycle, with special emphasis on the episodes related to the Passion, the death of Christ
It is not known when or how these two paintings -Saint John the Baptist and Saint Juan de Ribera (P947)- came to be the property of Luisa Enríquez, but their common provenance has never been seen as an indication of a link with the same group of art works. However, the technical study that was recently carried out on the two panels shows that they are directly and unequivocally related in t
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
As he was often required to do, Pantoja de la Cruz here copied an original by Sofonisba Anguissola (c. 1535-1625) of Cremona; it was her first portrait of the young queen. It is an attractive adaptation to Spanish conventions, but using warmer, lighter colours; a marmot-fur stole has also been added to the queen’s costume.In this three-quarter portrait Queen Isabel de Valois (1546-1568) wears a bl
After Bosch’s death, his style remained very successful both in the Netherlands and in Italy and Spain. This picture, painted nearly half a century after his death, is an example of the many that were produced in imitation of his style. In this case, the scene is inspired by the representation of Hell in The Garden of Earthly Delights, which also belongs to the Prado.
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 the back. Poking out from beneath her hanging sleeves, held in place with ruby and diamond buttons and lined in white fabric, are silver and gold undersleeves. The one-piece gown is decorated with appli
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
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
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 composition, brilliant colours and detailed finish. It was acquired by Charles IV.
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 painting became increasingly religious in tone and more emotionally expressive, aspects that he conveyed through pronounced contrasts of light and shade. This work was painted for the church of Saint’Eustorg
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, stands out in the light. The painter emphasizes the rows of windows to mark the wall´s horizontality, establishing a contrast with the vertical towers on the corners. The church´s central nave and transe
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 prince died in January 1554, days before Joanna gave birth to their son, Sebastian, who would become King of Portugal from 1568 to 1578. In July 1554, Joanna returned to Spain to serve as regent in the
It is not known when or how these two paintings -Saint Juan de Ribera and Saint John the Baptist (P950)- came to be the property of Luisa Enríquez, but their common provenance has never been seen as an indication of a link with the same group of art works. However, the technical study that was recently carried out on the two panels shows that they are directly and unequivocally related in t
Alonso Sánchez Coello was court painter to Philip II and he united two different pictorial styles developed in the mid sixteenth century by Titian and Anthonis Mor respectively. Sánchez Coello´s images are austere in their presentation, yet they include certain symbolic elements that place the sitters in a suitable context easily legible to the viewer. The sitters´ dress and certain
The dimensions, format, theme, support and pictorial style of these three works -The Crucifixion (P8211), Lamentation over the Dead Christ (Museo de Salamanca, CE 106) and The Resurrection (P8212)- all point towards a common provenance, an altarpiece with traditional subject matter linked to the Christological cycle, with special emphasis on the episodes related to the Passion, the death of Christ
The painting reproduces an original by Clouet (Washington, National Gallery of Art). Shrouded in an atmosphere that is partly indebted to Leonardo’s sfumato (the softening of contours), the lady shown is possibly Diane de Poitiers, the mistress of Henry II of France. The visual narrative is enriched by various symbols, with the boy, the infant and the fruit referring to fertility, and the carnatio
The composition shows the following episodes from the first floor of the painted frieze on the facade of the Palazzo Ricci, Rome: Mucius Scaevola crossing the Tiber to take the Etruscan camp of King Lars Porsenna; the killing of the treasurer to Lars Porsenna; the arrest of Mucius Scaevola; and the ordeal by fire of Mucius Scaevola before Lars Porsenna. Another, more damaged copy of this same is i
Insofar as it is possible to judge from its fragmentary condition (more than half the drawing is made up; the original piece of paper on which the study is made occupies the upper section only of the composition), the drawing seems to be a copy, but the model on which it would have been based remains to be identified. The fluid style of drawing in outline with large areas of light wash is, however
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