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The workshop of Jan Massys (c. 1509-1575) in Amberes produced a number of copies of this image based on a protoype by Quinten Massys, Jan’s father. Notable is the saint’s powerful look, which bestows dignity upon him. In line with new humanist ideas, the Church Father’s appearance of an aged scholar is abandoned, while the reference to the transience of life made through the skull and the depictio
Salome, an Edomite princess born of Herodias and the wife of Herod Philip I, carries the severed head of Saint John the Baptist on a tray, illustrating a Bible passage from Matthew (14:1–11) and Mark (6:22–28). Titian had already painted this story in 1516 (Galleria Doria Pamphilj, Rome), with a pyramidal composition that showed Salome bearing the saint’s head on a tray held chest high, and a serv
Emerging from a dark background, a half-length image of a man appears in the close foreground, his right shoulder and arm bare, his hair white and long, his features aged. He holds a wooden cross in his left hand and with his right he strikes his chest with a stone. The cross identifies him as a saint; his nakedness and dishevelled appearance indicate he is a hermit or a penitent; the stone with w
Paired with P07726, P07727 y P07729. These are sketches for cartoons for tapestries intended to adorn the King’s Antechamber known as the “Pieza de Conversación” in the Royal Palace of Madrid. Based on the allegories painted by Corrado Giaquinto for the equivalent room in the Palace at Aranjuez, they are notable for the apocalyptic symbols, such as the dove of the Holy Sprit conveying God´s
Lorenzo Lotto`s various depictions of the penitent Saint Jerome span early versions influenced by Albrecht Dürer and Giovanni Bellini (Musée du Louvre, Paris, 1506) and by young Raphael (Museo Nazionale di Castel Sant`Angelo, Rome, c.1509), to his most personal interpretations from the 1540s. Lotto`s Libro dei Conti (Book of Accounts) lists four paintings between 1544 and 1546 with thi
The date of this painting has been the subject of critical debate for over a century. The 1889 edition of the Prado catalogue states that it was signed but fails to mention a date. The 1910 version describes it as being signed and dated in 1620. The question is not addressed in subsequent publications until that of 1985, which refers to it as being signed and dated in 1630, the year that is again
Located against a background landscape resembling those of Joachim Patinir (c. 1480-1524), Saint Jerome kneels in prayer before a crucifix and skull. In this case he is not depicted inside a cave or by its entrance. His red robe and hat identify him as a cardinal while the book refers to his role as a Father of the Church and the translator of the Bible into Latin. Behind him is the lion who accom
This work is part of a series of Apostles executed by Diego González de la Vega for the Oratory of Parents of El Salvador, Madrid (Spain). When they entered the Museo de la Trinidad (1838) were listed as anonymous. Along with other works, now destroyed, the canvases at the Museo del Prado are this The Virgin Reading, Saint Peter (P3248), Saint Paul (P5472), Saint John the Evangelist (P4021)
Both the royal inventories and Stchavinsky (1912) identify this scene as the story of Hecuba, wife of Priam of Troy. Wichmann (1923) disagrees, believing it to be the Finding of the bodies of Hero and Leander, an interpretation supported by Valdivieso (1973), Pigler (1974), Salerno (1977-80) and Sluijter (1986). Luna (1984), however, has called attention to the inscription HECVBA / OVIDIVS./ LIB.
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
Christ´s dead body is taken off the Cross by Joseph of Arimathea, Nicodemus and Saint John the Evangelist. Among the people at his feet are the Virgin Mary, the mother of Joseph —also called Mary— as well as Salomé and Mary Magdalene, who raises her arms as a sign of her suffering. The good and bad thieves are crucified on trees. This scene follows the New Testament story of the Jesus´ desc
Standing on clouds at the center of the composition, Moses points toward the sunbeams shining down from the sky. Beneath him, Abraham and Isaac are accompanied by the sacrificial lamb. To the left of the composition, Saint Laurence and Saint Steven await the palm frond of martyrdom carried by angels; and to the right, we see the strong women of the Bible and King David.This composition belongs to
The event is set in a gothic temple, alluding to the New Law that replaces the old one, represented by the Romanesque tower in the background. The sculptures on the outside of the church and on the tower and Bible passages in the stained-glass windows reinforce this idea, and that of the Redemption. That is the case of Moses and David, or the sacrifice of Isaac´s, which foreshadows that of Christ.
Saint Jerome was meditating in solitude when an angel sounding the trumpet of the Last Judgment appeared to him. This was a particularly popular subject with seventeenth-century artists and Alonso Cano made use of it to show his skills in the description of the angel’s foreshortened body as well as his interest in depicting the colourful, luminous landscape that opens out on the left.
Later variant of the painting Saint Jerome in his Study (1533, Madrid, Real Academia de Bellas Artes de San Fernando, inv. 611). Its painter, who has been tentatively identified as Jan van Remmerswale, worked with his own patterns developed from Marinus’ compositions, but used a different technique to transfer them onto the panel. In contrast to Marinus, his paintings show a linear underdrawing ex
This painting represents the triple generation of Christ, a subject which was very popular at the time on account of the extensive devotion to Saint Anne, the Virgin’s mother. The artist shows her in a garden, sitting on a bench giving an apple to the Child, who is in Mary’s lap. Mary appears to be sitting on the ground recalling the imagery of the Madonna of Humility.
