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Abused and raped by their husbands the Counts of Carrión, the daughters of El Cid –Doña Elvira and Doña Sol– were abandoned, bound and semi-naked, in a forest. In the background, [+]
Calvary and The Descent from the Cross were two of the most frequent subjects in Pedro de Campaña’s oeuvre. Their content, as well as the painter’s Flemish training, explain his manner of empha [+]
Shortly after he painted the Pentecost for the high altar of the church of San Pedro Mártir in Toledo, Maíno executed this second version on a larger scale and in a wider format, which a [+]
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 [+]
Bosch thus shows how man, irrespective of his social class or place of origin, is so possessed by the desire to enjoy and acquire material possessions that he allows himself to be deceived or seduced [+]
Anthonis Mor established an elegant portrait type in which the sitter gazes steadily out at the viewer, a model that was followed by several other artists. This half-length painting of a standing woma [+]
As depicted here, the encounter between Mary Magdalene and the resurrected Christ follows a composition by Dürer. Characteristic of this painter, born in Madrid and trained in Rome, are the human [+]
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 panel originally had an arched top and included a more open landscape with less leafy trees. At an unknown date the work must have suffered damage that affected the pictorial surface, resulting i [+]
Until this donation by Placido Arango in 2015, the Museo del Prado had no paintings by Pieter van Kempeneer, an artist born in Brussels and first documented in Seville in 1537 after a period spent in [+]
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 [+]
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 [+]
Paolo Veronese`s Penitent Magdalene, 1583, reflects the change occurring in Venetian religious painting around 1580. On one hand, the new order of priorities imposed by the Council of Trent (1545-63) [+]
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 [+]
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 [+]
The son of Ferdinand of Austria, then King of Romans and next emperor (1556-1564) of the Germanic Holy Roman Empire, and his wife Anna Jagellonica, queen of Hungary and Bohemia, was born in Vienna on [+]
According to the Suidas, the drawing is similar in composition to the altarpiece in S. Bartolommeo degli Armeni, Genoa. This design was recycled in another altarpiece of the subject in S. Giovanni Bat [+]
This is a copy of the famous drawing by Michelangelo –the so-called Zenobia- formerly in de Granducal collection and now in the Uffizi, Florence (inv. no. 598 E). Vasari records the Uffizi drawing amo [+]
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