Loading...
Increasingly valued for the splendid series of works he made during the second and very nearly the third quarter of Spain’s Siglo de Oro, Antonio Ponce was from the generation after Van der Hamen. In [+]
Mariana of Austria, Queen Consort between 1665 and 1675, talks to the Jesuit priest Nithard, her confessor and confidant, in the presence of her son Charles II, still a minor. The scene takes place in [+]
The half-length figure of an old man is depicted against a dark background. He looks at the viewer out of the corner of his eye, with his torso turned slightly to the left and his head to the right, a [+]
This surprising canvas presents the image of the Virgin of Atocha, just as she was worshipped on her altar at the Dominican convent dedicated to her on the outskirts of Madrid. This type of votive ima [+]
This painting depicts the façade of Saint Peter’s as it was designed by the architect Carlo Maderno and before the re-modelling undertaken by Gian Lorenzo Bernini, who had the clock tower on th [+]
At the centre of this painting, the apostle Saint Andrew is being tied to the X-shaped cross on which he will die. His muscles are taut and he raises his eyes heavenward, where several angels carry th [+]
Esta pintura ha sido relacionada con Durero (1471-1528) y con Lucas de Leiden (1494-1533). Supone un sobresaliente ejercicio de estilo que manifiesta su atenta observación de originales alemanes del s [+]
After the death of Philip IV in 1665, his widow Mariana (1634-1696) became regent. She is depicted here as both widow and regent in the Hall of Mirrors in the Alcázar in Madrid. The writing imp [+]
Saint Paul fell from his horse as he heard Christ’s words “Why persecutest thou me?” which brought about his conversion. Murillo’s interpretation is notably dynamic, making use of the contrast between [+]
Es pareja de un retrato de similares características que representa a otra niña de edad y rasgos parecidos (P1227), por lo que se supone que eran hermanas. Sus vestidos, con el escote horizontal y las [+]
After the death of Velázquez, Carreño showed himself to be the artist most worthy of continuing the depiction of monsters, jesters, and dwarves that inhabited the Spanish court. Inventor [+]
Alone in the countryside, a boy raises his hand to his breast while looking up to the heavens, his face illuminated by a beam of light. The lamb and the cross with the inscription “Ecce Agnus Dei” (Be [+]
This is the companion to a portrait with similar characteristics that depicts another girl of about the same age with similar features (P1228). The two models may therefore have been sisters. Their dr [+]
This holy conversation conceived with a closed scheme that reflects the Renaissance tradition, and human models based directly on those used by Alonso Cano, has a degree of immediacy and spontaneous f [+]
This work´s subject is quite uncommon in Spanish painting, although frequent in Italian seicento works. It is drawn from Ovid´s Metamorphoses (VI, 337-382), which narrates how, fleeing Jun [+]
