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Lady with a Yellow Flower
Oil on panel. Ca. 1567
Cronenburch, Adriaen Van
Lady with a Yellow Flower
Oil on panel. Ca. 1567
Cronenburch, Adriaen Van

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 unity by the use of a central niche and two more, barely visible ones at the sides, separated by masonry pillars and decorated with small lions’ heads in the centre.This use of shared elements is prob

Lady with Gold Chains
Oil on canvas. Ca. 1560
Mor, Anthonis
Lady with Gold Chains
Oil on canvas. Ca. 1560
Mor, Anthonis

In this three-quarter length standing portrait, the unknown lady is wearing a rich, slashed dress with loose sleeves in the Turkish fashion, decorated with gold brocade; the dress is adorned with the gold chains which give the portrait its title. Her face is highlighted against the dark background, and she gazes directly at the viewer, as in all Mor’s portraits.

Danaë and the Shower of Gold
Oil on canvas. 1560 - 1565
Titian (Tiziano Vecellio)
Danaë and the Shower of Gold
Oil on canvas. 1560 - 1565
Titian (Tiziano Vecellio)

The first Poesie presented to Prince Philip were Danaë (1553, The Wellington Collection) and Venus and Adonis (1554, Museo del Prado, P422), versions of other previous works, but endowed with all the prestige of the commissioning party. In turn, these works became models for numerous replicas (Danaë receiving the Golden Rain, 1560-65, Museo del Prado, P425).Danaë depicts the moment

Lady and Girl
Oil on panel. 1567
Cronenburch, Adriaen Van
Lady and Girl
Oil on panel. 1567
Cronenburch, Adriaen Van

These four portraits of women, two double ones and two single ones (P02073, P02074 and P02076) presented standing and down to kneelevel, use the same architectural setting. The series is given visual unity by the use of a central niche and two more, barely visible ones at the sides, separated by masonry pillars and decorated with small lions’ heads in the centre.This use of shared elements is prob

Self-portrait (?)
Oil on panel. Ca. 1570
Sánchez Coello, Alonso (Attributed To)
Self-portrait (?)
Oil on panel. Ca. 1570
Sánchez Coello, Alonso (Attributed To)

While not absolutely certain, this is generally considered a self-portrait by Sánchez Coello, a pupil of Anthonis Mor and first court portraitist to Philip II. The artist deploys a detailed technique that is more precise and descriptive in the treatment of the white fabric of the ruff and slightly looser and more flexible in the face.

Tityus
Oil on canvas. 1632
Ribera, Jusepe de, lo Spagnoletto
Tityus
Oil on canvas. 1632
Ribera, Jusepe de, lo Spagnoletto

Tityus, the son of Jupiter and Elara, appears chained to the boulder in Tartarus while an eagle eternally devours his liver. The Giant received that punishment for attempting to rape one of his father’s lovers with the encouragement of Juno. The subject of the Furies -Tityus, Ixion, Tantalus and Sisyphus- became quite popular in European art of the Modern Age, especially in palace decorations. The

Portrait of a Woman
Oil on canvas. Ca. 1560
Titian (Tiziano Vecellio) (And Workshop)
Portrait of a Woman
Oil on canvas. Ca. 1560
Titian (Tiziano Vecellio) (And Workshop)

Previously catalogued as Portrait of Titian’s Daughter Lavinia Vecellio by Veronese, this canvas of an unknown sitter was painted in Titian’s studio. The lively face, probably painted by Titian himself, contrasts with the routine treatment of the clothing, which is the work of assistants.

Christ among the Doctors in the Temple
Oil on canvas. Ca. 1560
Veronese, Paolo (Paolo Cagliari)
Christ among the Doctors in the Temple
Oil on canvas. Ca. 1560
Veronese, Paolo (Paolo Cagliari)

This work illustrates the final passage of Christ´s childhood (Luke 2, 41-50) when, at the age of 12, he was taken to Jerusalem by his parents to celebrate Passover. Mary and Joseph lost their son, and later found him in the Temple, arguing with the doctors. Christ´s theological superiority is emphasized by his placement towards the top of the composition´s axis. The doctors look on as he enumerat

Lazarus and Dives
Oil on canvas. Ca. 1570
Bassano, Leandro
Lazarus and Dives
Oil on canvas. Ca. 1570
Bassano, Leandro

The parable of Lazarus (Luke 16: 19-31) has been interpreted in many ways: an apology of charitable works; a comparison between salvation and perdition, and between gentiles (Lazarus) and Jews (Epulon, the rich man); and the dogs who lick Lazarus´s sores have even been held to be an allusion to the Dominican preachers and their miraculous cures. Aikema has provided examples of sermons and contempo

Portrait of a Knight of the Order of Santiago
Oil on panel. Ca. 1560
Juanes, Juan de (Vicente Juan Masip)
Portrait of a Knight of the Order of Santiago
Oil on panel. Ca. 1560
Juanes, Juan de (Vicente Juan Masip)

Purchased by Charles IV, this portrait entered the royal collections in 1814 and was already listed in the Museo del Prado’s catalogs in 1854 as a work by Juan de Juanes. The identity of the sitter has varied since José de Madrazo suggested it was Luis Castelví, Lord of Carlet. Today, lacking unanimous agreement, it is generally accepted as a likeness of the Lord of Bicorp y Quera, L

A Soldier
Oil on canvas. Ca. 1560
Moroni, Giovanni Battista
A Soldier
Oil on canvas. Ca. 1560
Moroni, Giovanni Battista

Painted in Bergamo, this canvas reveals Moroni’s innate gifts as a portraitist, which were based on his remarkable ability to offer an objective depiction of real life in which the Lombardo-Venetian tradition combined with his knowledge of northern art. Moroni was more concerned to convey his sitters’ physical appearance or social position than to investigate their personality in any depth. The id

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

Landscape with Shepherds
Oil on panel. Ca. 1560
Dalem, Cornelis Van
Landscape with Shepherds
Oil on panel. Ca. 1560
Dalem, Cornelis Van

This view reflects the new approach to mountain landscapes introduced by Pieter Bruegel the Elder in the 1550s. In comparison to Patinir’s fragmented vision, it presents the landscape as a completed whole. The mountains are the real subject of the work, with the figures merely pretexts for depicting them.

The Descent from the Cross
Oil on oak panel. Ca. 1570
Kempeneer, Pieter
The Descent from the Cross
Oil on oak panel. Ca. 1570
Kempeneer, Pieter

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 emphasizing the markedly dramatic character of their compositions, stressing the figures’ expressive qualities in very contrived nocturnal settings. It is no surprise that these subjects continued to occup

Pietà
Oil on panel. 1565 - 1570
Morales, Luis de
Pietà
Oil on panel. 1565 - 1570
Morales, Luis de

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 compositions on the same subject, with half-length figures shown on a striking background of rigorous black. Against this, the two figures and the upright of the cross are contrasted with strong lighti

Dama y niña
Oil on panel. 1567
Cronenburch, Adriaen Van
Dama y niña
Oil on panel. 1567
Cronenburch, Adriaen Van

These four portraits of women, two double ones and two single ones (P02073, P02075 and P02076) presented standing and down to kneelevel, use the same architectural setting. The series is given visual unity by the use of a central niche and two more, barely visible ones at the sides, separated by masonry pillars and decorated with small lions’ heads in the centre.This use of shared elements is prob

Christ carrying the Cross
Oil on canvas. Ca. 1565
Titian (Tiziano Vecellio)
Christ carrying the Cross
Oil on canvas. Ca. 1565
Titian (Tiziano Vecellio)

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, curious bystanders and followers, among whom the depiction of Simon of Cyrene is relatively common. According to three of the evangelists (Matthew 27:32-33, Mark 15:21-22, and Luke 23:26-27), Simon carr

Ecce Homo
Oil on canvas. 1565 - 1570
Titian (Tiziano Vecellio) (Attributed To)
Ecce Homo
Oil on canvas. 1565 - 1570
Titian (Tiziano Vecellio) (Attributed To)

This painting depicts a passage from the Gospel of Saint John (19, 4-5) which recounts how after Christ had been whipped and crowned with thorns: Pilate therefore went forth again, and saith unto them, Behold, I bring him forth to you, that ye may know that I find no fault in him. Then came Jesus forth, wearing the crown of thorns and the purple robe. And Pilate saith unto them: Behold the man!. T

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