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Excepting some variants, such as the window opening onto a landscape or the face of the Virgin, this painting reproduces the composition of an engraving by Martin Schongauer, which accounts for its aesthetic links with productions from the region of Alsace and the Upper Rhine. Like the Master of La Sisla, other painters active in Spain in the late 15th century also drew inspiration from the prints
As part of the Royal Collection, the City Treasurer and his Wife (the so-called Money Changer and his Wife) is one of the few paintings by Marinus in Spain that can be traced to the eighteenth century, and one which played a decisive role in the rediscovery of the painter’s work. However, when it was first recorded in the collection of Isabel Farnesio in 1746 it was attributed to Lucas de Olanda (
This work is part of the series of six panels of monkey scenes in the Museo Nacional del Prado (from P01805 to P01810). The subject matter has been associated with human foolishness since the Middle Ages and is drawn from the oeuvre of Pieter Brueghel the Elder and Peter van der Borcht. Teniers successfully captures the ambivalence of mankind in its animal nature. Four apes are smoking around a ta
This Judas betraying Christ, from the Duke of Pastrana`s collection, is a version on canvas of an original signed panel (47.5 x 40 cm) formerly in the Duke of Bouillon`s collection, and later, according to Hofstede de Groot and Behermann, part of the Tronchin collection, where it is recorded until 1928. Loche and Behermann also refer to another version on canvas in the Eynard collection in Geneva
The painting played a major role in the rediscovery of Marinus’ work, in particular its relation to the production of Albrecht Dürer. It carries the date of 1521, the year that Dürer visited Antwerp and painted a Saint Jerome for Rui (Rodrigo) Fernandes de Almada, now in Lisbon (Museu Nacional de Arte Antiga, inv. 828). Although it was suspected early on that the signature and date must
La numeración "978" que aparece en el marco corresponde a la que tenía en el Inv. del Real Museo de 1857. En 1873 se le cambió a “1422" por lo que el negativo de esta fotografía es anterior a esta fecha. Hacia 1865 Laurent comenzó a fotografiar sistemáticamente los cuadros del Museo, publicando en 1867 un catálogo en el que este cuadro aparece referenciado con la numeración "978" lo que nos permit
