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Earthly Paradise
Oil on canvas. XVI century
Bassano (Workshop Of)
Earthly Paradise
Oil on canvas. XVI century
Bassano (Workshop Of)

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 specifically repeat the ones that appear in a similar position in Adam Being Reprimanded (P21). This juxtaposition of standardised models explains the obvious problems of scale in the depiction of the animals,

A Venetian General
Oil on canvas. 1570 - 1575
Tintoretto, Jacopo Robusti
A Venetian General
Oil on canvas. 1570 - 1575
Tintoretto, Jacopo Robusti

A portrait of a Venetian soldier wearing armor. He holds a baton in his right hand and his weapons in his left. Turned, he extends his arm toward the viewer, thus opening a third dimension in this composition strengthened by the force of his gaze. It has not been possible to confirm the identity of the sitter, but we must point out the similarity of this work's general composition to that of the p

The Annunciation
Oil on panel. 1570 - 1572
el Greco (Domenikos Theotokopoulos)
The Annunciation
Oil on panel. 1570 - 1572
el Greco (Domenikos Theotokopoulos)

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 Annunciation of the Modena Triptych, but it is not known whether it is a sketch for that work, or an autograph reduction. Probably painted in Venice just before 1570, this piece seems to be inspired by th

Saint Margaret resuscitating a Young Man
Oil on canvas. Ca. 1620
Serodine, Giovanni
Saint Margaret resuscitating a Young Man
Oil on canvas. Ca. 1620
Serodine, Giovanni

This painting is both beautiful in appearance and enigmatic on account of its problems of attribution, its authorship having fluctuated between several artists, all belonging to the aesthetic environment of Michelangelo Merisi, Caravaggio. Indeed, although it is now definitely ascribed to Serodine, some critics still believe it to be the work of the latter. Its history can be traced back to 1647,

Ecce Homo
Oil on panel. 1560 - 1570
Morales, Luis de
Ecce Homo
Oil on panel. 1560 - 1570
Morales, Luis de

Jesus is shown half-length, crowned with thorns and with a haggard face, parted lips, prominent cheekbones, and moist eyes raised in an attitude of submission to the divine will. His hair, beard, moustache and eyelashes are minutely rendered in a light brown colour. Similarly detailed is the treatment of the tears and drops of blood. The latter, caused by the thorns piercing his forehead and the w

Diego del Corral y Arellano
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y
Diego del Corral y Arellano
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y

Of the people with whom Velázquez must have had contact on a daily basis at the palace, many would have been high functionaries or skilled servants of the court. His own social aspirations included becoming a member of that professional group, which he eventually joined, and he made portraits of some of them, including two now at the Museo del Prado: Diego del Corral, shown here, and his wi

Winter
Oil on canvas. Second half of the XVI century
Bassano (Workshop Of)
Winter
Oil on canvas. Second half of the XVI century
Bassano (Workshop Of)

The Seasons are the second of the three types of four canvas sets produced by the Bassano bottega in the 1570s. Like the Noah and Elements series, they were extraordinarily successful and many replicas were made. Between 1580 and 1600 the inventories of the Venetian court of Giudici di petizioni cite five series of the Seasons and a further 35 of paesi e animali, and, although there is no mention

Table of the Seven Deadly Sins
Oil on poplar panel. 1505 - 1510
Bosch, Hieronymus
Table of the Seven Deadly Sins
Oil on poplar panel. 1505 - 1510
Bosch, Hieronymus

Two banderoles, one above and the other below the central circle, contain Latin texts from Deuteronomy (32: 28-29 and 20), warning against the wages of sin. The upper banderole, between the tondos of Death and the Last Judgment, reads: Gens absq[ue] [con]silio e[st] et sine prudentia // deutro[m]y 32 [um//] utina[m] sapere[n]t [et] i[n]telligere[n]t ac novissi[m]a p[ro]videre[n]t (For they are a n

The Descent from the Cross
Oil on copperplate. Ca. 1550
Allori, Alessandro
The Descent from the Cross
Oil on copperplate. Ca. 1550
Allori, Alessandro

Christ´s dead body is taken off the Cross by Joseph of Arimathea, Nicodemus and Saint John the Evangelist. Among the people at his feet are the Virgin Mary, the mother of Joseph —also called Mary— as well as Salomé and Mary Magdalene, who raises her arms as a sign of her suffering. The good and bad thieves are crucified on trees. This scene follows the New Testament story of the Jesus´ desc

Infernal Landscape
Oil on panel. Ca. 1565
Anonymous
Infernal Landscape
Oil on panel. Ca. 1565
Anonymous

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.

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

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

The Adoration of the Magi
Oil on panel. 1565 - 1570
Morales, Luis de
The Adoration of the Magi
Oil on panel. 1565 - 1570
Morales, Luis de

It is extremely likely that these two panels, -The Adoration of the Magi and The Adoration of the Shepherds-, similar in format, measurements and style, belonged to the predella of the same altarpiece, since both have the usual configuration of paintings destined for this type of placement, and the compositional design in each case displays similarities in the size and arrangement of the figures a

Queen Anne of Austria, fourth Wife of Philip II
Oil on canvas. Ca. 1616
González, Bartolomé
Queen Anne of Austria, fourth Wife of Philip II
Oil on canvas. Ca. 1616
González, Bartolomé

A court portrait of Queen Anne (1549-1580), the daughter of Emperor Maximilian II (1527-1576) and Maria of Austria (1528-1603), married her uncle Philip II in 1570; their son later became Philip III (1578-1621). This portrait is thought to be a copy of one by Anthonis Mor, painted in 1570 when the future queen was travelling to Spain to be married. She is wearing a white partlet over an ornate dou

Daniele Barbaro, Patriarch of Aquileia
Oil on canvas. Ca. 1545
Titian (Tiziano Vecellio)
Daniele Barbaro, Patriarch of Aquileia
Oil on canvas. Ca. 1545
Titian (Tiziano Vecellio)

Described by Lodovico Dolce as a gentleman of great merit and infinite goodness, Daniele Barbaro (1513-1570) was from a noble Venetian family. He was educated to the highest level first in Verona and then at Padua University. A philosopher of neo-Aristotelian leanings, he became friends with important Venetian humanists, some of whom were also portrayed by Titian, such as Pietro Bembo (Washington,

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

Tityus
Oil on canvas. Ca. 1565
Titian (Tiziano Vecellio)
Tityus
Oil on canvas. Ca. 1565
Titian (Tiziano Vecellio)

In his Metamorphoses Ovid recounts the torments of the Giant Tityus, whose punishment for having attempted to rape the goddess Leto was to have two vultures devouring his continually regenerating liver for eternity. This work is Titian´s own late repetition of the original, painted by him for Mary of Hungary as part of a series of Furies. It was conceived as a warning for those who dared to challe

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