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The saint is depicted leaning on a boulder, in a state of mystical ecstasy following his meditation on death. That meditation is symbolized by the skull, cross and book. He is comforted by a musician angel, as is told in the book The Little Flowers of Saint Francis (Part II, second consideration). This work is from the artist´s second period in Antwerp, where he lived from 1627 to 1632 before leav
The Virgin sits with the Christ Child in the midst of grandiose classical architecture. She is surrounded by numerous saints in various positions. Above her, some angels prepare to crown her as Queen of Heaven. This work was sometimes thought to be a representation of The Mystical Betrothal of Saint Catherine, because of the strong presence of that saint, who is depicted kneeling before the Christ
This small panel -it is practically a miniature- is truly exceptional among El Greco’s works. In it, he employs landscape as an essential compositional element while simultaneously demonstrating his mastery of the techniques and expressive resources of 16th-century Venetian painting. The Holy Family is depicted on its journey to Egypt, fleeing the persecution of Herod, who decreed the execution of
The scene shows the Christ the Redeemer procession organised in Antwerp in 1685 to commemorate the centenary of the assault on the city by Spanish troops under the command of Alessandro Farnese on 27 August 1585. This victory culminated one of the most important Spanish assaults during the Eighty Years War, since thereafter control of the Southern Netherlands returned to the Spanish Crown.The scen
In this complex allegory, Mars, the god of war, is rejected by his lover Venus, who symbolises the peace painted by Rubens (1577-1640). On the ground at the lower edge we see objects destroyed by war: political power (the sceptre and orb); commerce or scientific knowledge (the astrolabe and armillary sphere); literature or peace treaties (a rolled-up manuscript) and diferent arts (the mask, the st
This drawing belongs to the Ajello Sketchbook, a group of fifty-nine unbound pencil drawings that were models for engraving to illustrate a descriptive calendar of sculptures that Philip V and his wife, Elizabeth of Farnesio, had gathered in the Royal Palace of La Granja de San Ildefonso.
El dibujo es similar a varios otros atribuidos a este artista en la colección Bertini de Calenzano. Sante Piatti (ca. 1687-1747) fue discípulo de Diamantini y, tal vez, de Gregorio Lazzarini, aunque se evidencian en su escasa obra pictórica elementos que siguen el estilo compositivo de Sebastiano Ricci. (Texto extractado de Mena Marqués, M.B., Catálogo de dibujos. VII. Dibujos italianos del siglo
Originally in the collection of the 7th Marquis del Carpio, Spanish Ambassador in Rome (1676-82) and Viceroy of Naples (1682-87), this sculpture consists of a nude, Greco-Roman torso with some surviving folds of drapery, completed in the Baroque style by a Roman sculptor in the last quarter of the seventeenth century. It depicts Venus’s birth as she rises from the waves, supported by a dolphin and
This head of a goat, formerly in the collection of the Marquis of Carpio (1629-1687), is a fragment of a sculpture depicting a common subject in Antiquity, in which a small rider (Bacchus, Cupid or Venus) is mounted on the animal. On the right of the head are remains of a hand that would have been clutching the goat’s hair.
This work illustrates an episode from the Odyssey in which young Irus challenges Ulysses to a fight, which the latter wins in presence of the inhabitants of Ithaca. Ulysses stands with his back to the viewer and the unconscious body of Irus lies at his feet. While Jan Harmensz. Muller’s name does not appear on this print, he is traditionally considered its engraver. The work is modeled after a pan
Wearing the hide of the lion of Nemea, Hercules holds a club in his left hand and, in his right, the horn he tore off river god Achelous’s head when the latter adopted the form of a bull to fight him. That battle is visible in the middle ground to the left, while, in the background, the Nereids have filled the horn with flowers and fruit, transforming it into a cornucopia. At the right, Hercules l
This large vase is decorated with a mask in the middle section. It lacks the lid and base, which are known from a drawing of 1682 now in London. It belonged to Gaspar de Haro y Guzmán, Marquis of Carpio (1619-1687) who was Spanish ambassador in Rome then Viceroy of Naples in 1683, assembling an exceptional art collection in Italy.
Vessel similar to O38, except that the cover is missing. The precious stones on the jasper ring are complete, and the remaining cameos consist of a Roman-style bust of a crowned man and a woman’s head by the same maker, both of cornelian; another head, perhaps Hercules, in chalcedony; and a male bust crowned with laurel, with another female bust in the background, of agate, similar to a cameo pres
Vessel with a tall foot formed by a silver gilt mount and a body consisting of a shallow oval bowl of greyish jade (nephrite), with a diminished arch profile. Running around the lip is a broad mount with a border of inclined egg motifs which raises the smaller cover, a second piece of jade crowned with a three-leafed silver gilt bud. It rests on a silver tripod structure with four S-shaped scrolls
This vessel had a pair, now lost (I1416), which must have been very similar and by the same hand as O37, the work of the silversmith Pierre Ladoyreau or Ladoireau, who made part of the silver furnishings at Versailles. It comprises two pieces of red jasper and two large mounts with twenty cameos. The body is in the form of a bowl with a diminished arch profile, a round mouth, and a lobulated ring
The pair of a vessel stolen in 1918, this is one of the few pieces which still preserve work by Pierre Ladoyreau or Ladoireau, one of the great master craftsmen of the 17th century in France, who designed furnishing and bronzes for the palace and gardens of Versailles. It is made up of two pieces of stone, sixteen cameos and three large enamelled gold mounts. The decoration of the mounts, similar
Aunque el periodo de Luis XVI está considerado el mejor para la miniatura francesa, en el de su predecesor se sentaron las bases que permitieron alcanzar tan altas cotas y competir en calidad con la escuela inglesa. Durante el segundo tercio del siglo XVIII, la vitela fue el soporte predilecto de los miniaturistas que, poco a poco, fueron abandonándola por las tablillas de marfil, nuevo material a
This small brazier, already cited in the 1689 Versailles inventory, follows the French classical taste propitiated by Le Brun, Maison, Bérain and others. The vessel is made up of seven pieces of jade and silver gilt mounts. The body consists of a large piece of jade on a tripod foot formed by three dogs’ paws with six hanging festoons, ribbons, and a low gadrooned receptacle ending in a rin
