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The Adoration of the Shepherds
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
The Adoration of the Shepherds
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista

On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight months to make the paintings, which had to portray the scenes and episodes specified by the prior of the monastery. Despite the agreement reached in the contract, the paintings were not completed until De

Expulsion of the Merchants from the Temple
Oil on canvas. Ca. 1568
Bassano, Jacopo (Jacopo Dal Ponte)
Expulsion of the Merchants from the Temple
Oil on canvas. Ca. 1568
Bassano, Jacopo (Jacopo Dal Ponte)

Although for this first version Jacopo borrowed elements from early works such as the young man peeking his head round the column, which appears in the 1536 La fornace ardente (Bassano del Grappa, Museo Civico), he drew mainly from Stefano Cernotto´s Expulsion of the Merchants from the Temple (Venice, Accademia, deposited at the Ceni Foundation). Cernotto, an artist of Dalmatian origin who worked

Jacob's Journey
Oil on canvas. 1635 - 1665
Lione, Andrea Di
Jacob's Journey
Oil on canvas. 1635 - 1665
Lione, Andrea Di

Like many other works by Andrea di Lione, Jacob’s journey, c.1635-65, was previously attributed to Genoese painter Giovanni Benedetto Castiglione (Il Grechetto). It is one of the most successful landscapes with figures by Lione, who first studied with battle painter Aniello Falcone (1607-1656) and later developed a more bucolic manner under the influence of Castiglione, whom he lived alongside in

May (Gemini)
Oil on canvas. S XVI - XVII century
Bassano, Francesco
May (Gemini)
Oil on canvas. S XVI - XVII century
Bassano, Francesco

Although there is no extant set of the twelve months of the year painted by Jacopo, it is possible that he invented this series. Certainly, the inventory taken in Bassano del Grappa following his death in 1592 mentions sketches of the twelve months from January to December (two different versions of some, such as May and June), and a further seven of unspecified months. In 1648, Ridolfi referred t

Fable
Oil on canvas. Ca. 1580
el Greco (Domenikos Theotokopoulos)
Fable
Oil on canvas. Ca. 1580
el Greco (Domenikos Theotokopoulos)

This scene of a young man blowing on burning embers was already developed by El Greco in Italy. Here, the motif is complicated by a mischievous young man and a monkey. This possible allegory of sexual desire may also be inspired by a classical work that was often used at that time, Pliny the Elder´s Natural History. The lighting effects and color contrasts show how the Bassano influenced El Greco,

Adoration of the Shepherds
Oil on panel. Ca. 1580
Bassano, Jacopo (Jacopo Dal Ponte)
Adoration of the Shepherds
Oil on panel. Ca. 1580
Bassano, Jacopo (Jacopo Dal Ponte)

There are two more known versions of this work in Vienna (Kunsthistorisches Museum, inv. 1581) and a private collection in Padua. The former has always been attributed to Francesco, whereas Ballarin has assigned the second to Jacopo, dating it to about 1575. In Ballarin´s view, the Padua painting is the original from which the other versions were derived and on which Jacopo based his first Adorati

The Venetian Charlatan
Oil on canvas. Ca. 1765
Tiepolo, Giovanni Domenico
The Venetian Charlatan
Oil on canvas. Ca. 1765
Tiepolo, Giovanni Domenico

These two paintings (P7804 and P7805) are part of a series on similar subjects, yet they stand out among Giandomenico`s work. These works are small depictions of everyday life in Venice, exquisitely rendered with a very agile touch that reflects the technical skills Giandomenico learnt from his father. This genre work is infrequent in Giandomenico`s oeuvre. In Spain the only known works of this so

July (Leo)
Oil on canvas. S XVI - XVII century
Bassano, Francesco
July (Leo)
Oil on canvas. S XVI - XVII century
Bassano, Francesco

Although there is no extant set of the twelve months of the year painted by Jacopo, it is possible that he invented this series. Certainly, the inventory taken in Bassano del Grappa following his death in 1592 mentions sketches of the twelve months from January to December (two different versions of some, such as May and June), and a further seven of unspecified months. In 1648, Ridolfi referred t

Last Supper
Oil on canvas. Ca. 1586
Bassano, Francesco
Last Supper
Oil on canvas. Ca. 1586
Bassano, Francesco

Although Bettini noted a number of paternal precedents for this painting, it is a personal interpretation by Francesco of the gospel passage. Three versions are known, of which the Prado painting is the last. The first, dated about 1585, was auctioned by Sotheby´s of Florence in 1984, and there is a preparatory drawing of the figures of the elderly man with a bear and the page on the left (V

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

The Virgin Dolorosa with her Hands apart
Oil. 1555
Titian (Tiziano Vecellio)
The Virgin Dolorosa with her Hands apart
Oil. 1555
Titian (Tiziano Vecellio)

We know from a letter of 30 June 1553 from the Spanish Ambassador in Venice that Titian was waiting for instructions from the emperor to paint a panel of Our Lady the same as the Ecce Homo which Your Majesty has. This painting was completed in 1554 and can be identified with The Virgin Dolorosa with her Hands joined (P443). In another letter of 1554 there is a reference to another Virgin Dolorosa

Lazarus and Dives
Oil on canvas. Ca. 1570
Bassano, Leandro
Lazarus and Dives
Oil on canvas. Ca. 1570
Bassano, Leandro

The parable of Lazarus (Luke 16: 19-31) has been interpreted in many ways: an apology of charitable works; a comparison between salvation and perdition, and between gentiles (Lazarus) and Jews (Epulon, the rich man); and the dogs who lick Lazarus´s sores have even been held to be an allusion to the Dominican preachers and their miraculous cures. Aikema has provided examples of sermons and contempo

Saint John the Evangelist on Patmos
Oil on canvas. Ca. 1620
Orrente, Pedro de
Saint John the Evangelist on Patmos
Oil on canvas. Ca. 1620
Orrente, Pedro de

This canvas is a good example of the numerous influences that acted on Orrente’s style. They include his Venetian training, evident in his approach to the landscape in this painting, and unmistakable traces of the Roman Caravaggesque style, revealed here in the figure of the Evangelist, both in the arrangement of the figure and the way it is illuminated.

Embarkation of the Doge of Venice
Oil on canvas. After 1595
Bassano, Leandro
Embarkation of the Doge of Venice
Oil on canvas. After 1595
Bassano, Leandro

This painting, also known as the Embarkation of the Doge in the Riva degli Schiavoni, is dated after 1595, the year Leandro was ennobled, since the signature denotes his knightly status. In the 17th century, two works with similar characteristics depicting this theme arrived in Spain and are today housed at the Museo Nacional del Prado and the Real Academia de Bellas Artes de San Fernando (n. 546)

Saint John Chrysostom
Oil on canvas. First half of the XVII century
Orrente, Pedro de
Saint John Chrysostom
Oil on canvas. First half of the XVII century
Orrente, Pedro de

Orrente here adheres to his practice of using religious scenes as a pretext to paint landscapes influenced by the famous works of the Bassano family. In this work he depictsthe 4th -century saint in his penitential retreat. Saint John Chrysostom is depicted nude and with long hair, hiding himself away from any occasional visitor who might come across his retreat.

The Rape of Europa
Oil on canvas. Late XVI century
Bassano, Leandro
The Rape of Europa
Oil on canvas. Late XVI century
Bassano, Leandro

The lack of an autograph work of this theme by Jacopo suggests that the idea for the composition came from Francesco at the end of the 1570s, by which time he had gained greater independence from his father and found a Venetian clientele who was receptive to this subject matter. Two further versions are known: one hangs in the Galleria degli Uffizi (inv. 6.219), and the other was auctioned in 1976

Mater Dolorosa with Clasped Hands
Oil on panel. 1554
Titian (Tiziano Vecellio)
Mater Dolorosa with Clasped Hands
Oil on panel. 1554
Titian (Tiziano Vecellio)

We know from a letter of 30 June 1553 from the Spanish Ambassador in Venice that Titian was waiting for instructions from the emperor to paint a panel of Our Lady the same as the Ecce Homo which Your Majesty has. This painting was completed in 1554 and can be identified with The Virgin Dolorosa with her Hands joined (P443). In another letter of 1554 there is a reference to another Virgin Dolorosa

The Marriage at Cana
Oil on canvas. XVI century
Bassano, Leandro
The Marriage at Cana
Oil on canvas. XVI century
Bassano, Leandro

There is a print by Pietro Monaco (1707-1772), published by Guglielmo Zerletti in Venice in 1763, which reproduces a painting of the Marriage at Cana then attributed to Jacopo and owned by the lawyer Giulio Crivellari. In Spain, a composition with the same title though smaller (112 x 84 cm approximately) was listed in the 1711 inventory of the 9th Duke of Medinaceli. The original painting, probabl

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