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In keeping with iconographic tradition, the Virgin turns in surprise at the arrival of the Archangel Gabriel and the Holy Ghost. This work is very close, compositionally and stylistically, to the Annu [+]
La infanta Catalina Micaela fue la menor de las dos hijas habidas en el matrimonio del rey Felipe II con su tercera esposa, Isabel de Valois. Nació en Madrid en 1567. Junto a su hermana mayor, Isabel [+]
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 [+]
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 [+]
Philip II’s two daughters Isabel Clara Eugenia (1566-1633) and Catalina Micaela (1567-1597), were repeatedly portrayed from the time they were very small by Alonso Sánchez Coello, one of the ki [+]
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 [+]
After a documented stay in Rome and a highly probable visit to Parma to study Correggio, Barocci returned to Urbino in 1576. When he painted this work for Francesco Maria II della Rovere, Duke of Urbi [+]
On the diptych’s left door, Mor portrays Alexander Farnese’s mother, who was Charles V’s illegitimate daughter by Juana van der Gheyst. Born in Audenarde in 1521, she died in Ortonna in 1586 after mar [+]
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 [+]
Since it entered the Museum, this picture has been attributed to Michiel Jansz. van Mierevelt (1567-1641), but this ascription cannot be sustained. The type of modelling and the treatment of the light [+]
In this work Cajés combines Caravaggesque tenebrism with Correggio’s soft, fleshy Mannerism. The resulting painting, with its gentle, delicate appearance, reveals the artist’s clear assimilatio [+]
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 [+]
These four portraits of women, two double ones and two single ones (P02073, P02074 and P02075) presented standing and down to kneelevel, use the same architectural setting. The series is given visual [+]
In this picture in the Prado, Morales combines elements that allude to both moments, -the Presentation in the Temple and the Purification of the Virgin-, although it might appear at first that he incl [+]
Practically unknown until now, the present canvas has only been mentioned and reproduced in an article by Matías Díaz Padrón, former curator at the Prado, that was published in Ar [+]
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 se [+]
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 [+]
Charles V commissioned The Glory from Titian during their meeting in Augsburg in 1550-51. The painting was completed in October 1554 and was sent to Brussels. The unusual composition, which must corre [+]
