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Representación del santo que dirige su mirada al crucifijo, mientras que distintos elementos iconográficos como la calavera y la trompeta aluden al final de los tiempos. [+]
The thin naked torso, the cloth made from rushes, the skull and the book suggest that the figure in the painting is a hermit; the bread crust in the foreground tells us that it is Saint Paul, the firs [+]
On August 29, 1626, King Philip IV’s painter, Vicente Carducho (ca. 1576-1638), signed a contract for the creation of a cycle of paintings to celebrate the founding of the Carthusian Order by Saint Br [+]
Luis de Carvajal was a Toledan painter who trained in Rome and subsequently at El Escorial, a flourishing centre for Spanish painting in the first half of the seventeenth century. The manner in which [+]
Jerome meditates before a crucifix in the solitude of his retreat. The numerous objects depicted around him refer to different aspects of his life. The books, papers and writing equipment allude to hi [+]
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 (M [+]
A Triumphant Christ appears to a group of saints among whom are Saints Jerome, Francis and Mary Magdalene. It is not known what church this work was painted for, although it is clear that it was meant [+]
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 b [+]
The saint’s figure, with long blond tresses, occupies the center of the scene. Gazing at the heavens, she crosses her hands across her bosom in prayer. Her worn clothing is enveloped in large floating [+]
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 Can [+]
Paolo Veronese`s Penitent Magdalene, 1583, reflects the change occurring in Venetian religious painting around 1580. On one hand, the new order of priorities imposed by the Council of Trent (1545-63) [+]
The crucifixion of Christ is depicted by the artist in a barren, desolate landscape, a setting essentially undefined thanks to an enormous neutral background intended to heighten its dramatic effect. [+]
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Saint Anthony is tempted by the Devil, transformed into a beautiful naked woman accompanied by a witch. The burning city in the background, the monsters and other elements are derived from Bosch (c. 1 [+]
This painting is a slight variation of the central panel in the predella of the Don Álvaro de Luna Altar Piece which is in the Toledo cathedral (doc. 1488). Mary, helped by Saint John and Nicod [+]
Born in Antwerp in 1609, Omazur was a friend and admirer of Murillo’s. He established himself as a merchant in Seville where he wrote poetry and collected painting. The austerity of the image links it [+]
Ha figurado como anónimo hasta su adscripción a Herrera el Viejo por Leticia Ruiz (2017), que lo data hacia 1650, después de una completa restauración. [+]
This painting has been related to a series of compositions on the theme of martyrs which Juan de Roelas, an artist of Flemish origin, executed with his studio for the monastery of the Merced in Sevill [+]
