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The composition derives from a lost work by Leonardo repeated by Yáñez on two other occasions with some variants. Here he includes a chalice and a consecrated Host, a Eucharistic referen [+]
All parts of this extraordinarily meticulous work are related to each other from a formal and iconographic standpoint. The Virgin appears in the foreground, where she occupies a considerable portion o [+]
A poor student is handing over some coins to a fruit-seller as he makes a knot in the handkerchief, clinched in his teeth, to put away the change. On the right side, in the immediate foreground, a you [+]
We can identify Saint Francis by his habit, his rope belt and the wound on his right hand. He raises his gaze towards heaven and holds a skull in his left hand. A crucifix rests on a book in front of [+]
A landscape with waterfalls appears at one side of the composition. At the other, various buildings oppose their rational and geometrical mass to Nature’s freer expression. The canvas’s human presence [+]
The Virgin’s facial type, the confident drawing and the forceful rendering of the spatial planes originally led this work to be attributed to Claudio Coello. But in 1986 more precise knowledge of the [+]
The Virgin holds Christ´s dead body on her lap and turns an imploring look towards the heavens. Saint John, in red, Joseph of Arimathea and Nicodemus meditate on the event of which they are the protag [+]
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A noble Roman widow and mother of five children, Saint Paula decided to retreat to the desert and abandon her worldly ways in favour of a life of prayer and penitence. In 285 AD she abandoned Rome wit [+]
The original composition was enlarged on the right side with a section of wood of around 10.5 cm, glued against the grain. During the restoration carried out in 1994 it was noted that the preparation [+]
A broad landscape is the setting for Moses’s rescue from the Nile River by the Egyptian Pharaoh’s daughter and her retinue. In the foreground, a shepherd sleeps, indifferent to the events taking place [+]
These two canvases (The Adoration of the Magi, P1129 and The Presentation of Jesus in the Temple, P1130) were part of a small altar piece in the convent of Los Angéles in Madrid, a work that al [+]
The plaza occupies the center of the image, surrounded by the fortifications and the camp. Amprosio Spínola appears in a carriage alongside a group of riders and footmen in the right foreground [+]
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Considerado como pintado hacia 1688, de tratarse del autorretrato de este artista, nacido en 1650, demostraría contar en realidad unos veinticinco años aproximadamente, por lo cual convendría adelanta [+]
The main scene occupies the foreground, though it is no longer set in the plane closest to the viewer as in the previous period, but slightly further back. As a result, the figures are smaller in size [+]
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Born in Flanders, Livio Mehus moved to Milan at a young age and is thus often considered an artist of the Italian school. He is recorded in Rome at the age of fourteen and later in Florence, Lucca and [+]
