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Ferdinand II of Aragon, called the Catholic (1452-1516). The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s
The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the
The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the
The Triptych in the Museo del Prado labeled as Scenes from the Life of Christ is a pivotal work in the story of Valencian painting in the fifteenth century and in the transmission of the style and technique of Jan van Eyck to the Iberian Peninsula. The panel entered the Prado collection in 1931 from the convent of the Encarnación in Valencia, a Carmelite foundation established in 1502. It w
The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the
The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the
The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the
The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the
The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the
This panel depicts a passage from the Gospel of Saint Luke (2, 26) in which Simeon blesses the Christ Child when he is presented in the temple. It is part of the altarpiece or seasonal altar of the Guisando Nativity (P00683–P00690). This is a structure frequently found in numerous Spanish monastic cloisters. It comes precisely from the Hieronymite monastery of Guisando (Ávila), which was ci
Mary, who is very richly dressed, is holding the Christ child above the altar; Joseph is at her side. Simeon is also in the room, along with some women, one of whom has a basket with two doves in it. The painting comes, together with five others of the same group (P-1254-P-1259), from the Hieronomite monastery of La Sisla (Toledo).
Roderic was the Visigothic king in Hispania (710 - 711). The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s
The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the
Queens Ermesinda and Adosinda (Usenda), respectively the daughter and granddaughter of Don Pelayo, played a crucial role during the Reconquest, recognised since the Middle Ages, as transmitters of dynastic rights in the Christian kingdom of Asturias. Isabella II gave them a place in the Chronological Series as titular or proprietary queens, which they apparently were not, in her efforts to shore u
The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the
The image of the titular saint seated on a richly decorated Gothic throne was the central effigy of many Spanish late mediaeval altarpieces. Here we see a hieratic Saint James with his pilgrim’s attributes enthroned on a monumental cathedra in grisaille, adorned with lively marginalia. Kneeling at his feet, the figure of the donor may evoke a desire to go on a pilgrimage to Compostela or simply de
The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the
