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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 [+]
This is a painting of rather mediocre quality for which the artists drew on several ricordi from the stock at the family bottega. To cite an example, the horse and pair of dogs on the right specifical [+]
These four portraits of women, two double ones and two single ones (P02074, P02075 and P02076) presented standing and down to kneelevel, use the same architectural setting. The series is given visual [+]
The painting featured here is an example of the characteristic compositions with poultry in which D`Hondecoeter specialised. This type of painting was brought to Utrecht in 1619 by Roeland Savery (157 [+]
Figura de más de medio cuerpo, en pie; lleva cruz de pedrería al cuello, pendiente de un collar de chatones, rubíes y perlas; diadema de pedrería; cuello y puños, de puntas; mangas de color gris verdo [+]
This painting formed part of the Altar Piece of San Esteban (Valencia), the most celebrated work by Juanes, who came from Valencia. The scenes included the most important episodes in the life of the s [+]
Painted for the base of the main altarpiece of San Esteban in Valencia (P00838, P00839, P00840, P00841 and P00842), Inspired by Leonardo, both in the definition of the space and in the eloquent expres [+]
A depiction of the New Testament story (Acts 7, 58) Saint Stephen was condemned to stoning after angering the priests of the Sanhedrin assembly. This scene represents the moment when he is taken out o [+]
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 se [+]
Juan de Juanes depicts the episode in the Acts of the Apostles when Saint Stephen declared before the Sanhedrin: “I see the heavens opened and the Son of Man standing on the right hand of God.” When t [+]
This painting forms part of the Altarpiece of San Esteban (Valencia), along with other scenes from the saint´s life (P00838, P00839, P00841 and P00842), as well as the Last Supper (P00846). According [+]
This portrait of García de’Medici (1547–1562), third son of Cosimo de’Medici and Leonor de Toledo, is an excellent example of the scant interest in the depiction of children prior to the Enligh [+]
This panel was the first painting produced by the artist when he started working for Philip II at the monastery of El Escorial. He had just returned from Italy, and already displayed a remarkable abil [+]
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 Schlo [+]
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 painting entered the Prado as an original by Philips de Koninck (1619-1688), though in the 1873 catalogue it is attributed to Salomon Koninck (1609-1656). Adecade later, in the 1885 edition, Bred [+]
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 [+]
Large-format versions of the Virgin holding the dead body of Christ, like those at Badajoz Cathedral and at the Real Academia de Bellas Artes de San Fernando, gave way in Morales’s oeuvre to smaller c [+]
