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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 [+]
This portrait of García de’Medici (1547–1562), third son of Cosimo de’Medici and Leonor de Toledo, is an excellent example of the scant interest in the depiction of children prior to the Enligh [+]
The panel’s small size, making it particularly suitable for private devotion, reflects the growth of the cult of the Virgin. A typical feature of Tuscan art of this date is the use of inscriptions suc [+]
This altarpiece consists of nine large panels plus the eighteen that make up the predella. The main scene is The Virgin with the Christ Child surrounded by Angel Musicians, which is completed with fiv [+]
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 incl [+]
This emblematic picture is undoubtedly the best-known work on a social theme produced by Sorolla in his youth. It is also an especially good example of how fully the artist became involved in a genre [+]
The presence of portraits of children in the painting collections of the Spanish Austrians can be found all throughout the sixteenth century. In the 1570s this sub-genre became more highly developed a [+]
The sitter is a young man with a robust face, a thick, clipped beard and curly hair typical of the Trajanic period. He wears a lunula: an amulet in the form of a crescent moon that protected him again [+]
