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The composition derives from a lost work by Leonardo repeated by Yáñez on two other occasions with some variants. Here he includes a chalice and a consecrated Host, a Eucharistic reference that enjoyed a lengthy tradition in Spanish and particularly Valencian art. The emphasis on anatomical definition, subtle colour and a unifying light are characteristic of the artist at this period
Taken together, these three works clearly convey a Eucharistic meaning. They depict Christ holding up the chalice and the Host (P00844), flanked by two Old Testament figures: King Melchizedek, bearing bread and wine (P00853), and the priest Aaron with a jar of incense (P00854). The three panels were part of the tabernacle of the high altar in the church of the Birth of the Virgin in Fuente de la H
In 1625, Archduchess Isabel Clara Eugenia commissioned Rubens to design a series of twenty tapestries for the Monastery of the Descalzas Reales in Madrid. The subject was the Eucharist, a leading Catholic dogma that the infanta defended in her role as sovereign princess of the southern Netherlands. Rubens conceived the scenes like victory marches, as if the cloths were hanging from baroque archite
The Evangelist, identified by the chalice he holds in his hand, protects four female donors dressed in plain devotional habits. In the background, Coecke provides a vision of Hell that reflects the strong influence of Hieronymus Bosch. This is the right panel of the Triptych of the Last Judgement; the central panel is at the Escorial, whilst the left panel is in the Prado (P1609).
Painted for the base of the main altarpiece of San Esteban in Valencia (P00838, P00839, P00840, P00841 and P00842), Inspired by Leonardo, both in the definition of the space and in the eloquent expressiveness of the apostles, it also shows Juanes’s close relationship with Raphael. In keeping with traditional iconography in Spain, he focussed the scene on Jesus, serene and triumphant at the moment
This is one of a series of twelve panels (P01646, P01647, P01648, P01649, P01650, P01651, P01652, P01653, P01654, P01655, P01656, P01657) that make up an apostolate that originally included a Savior of the World. The disciples of Christ are represented in the style the painter used around 1612-1613. These are large figures of forceful appearance and considerable plasticity, contrasting with the da
On his throne, wearing a red tunic and holding the globe of the World in his left hand, Christ offers his blessing with his right. He is flanked by figures representing the Church and the Synagogue and surrounded by the Tetramorph. Christ is presented as the Savior of the world in this work that contrasts the figure of the Synagogue, with Moses’s tablets and a torn banner; and the figure of the Ch
Christ kneels with his arms raised, looking to the heavens where a angel holds attributes of his passion: a chalice and a cross. The sleeping apostles appear in the middle ground, behind Christ to the left. This work passed from the Royal Collection to the Museo del Prado with an attribution to Juan de Juanes. In 1920, Tormo´s opinion prevailed and it was correctly cataloged as a work by his
A high surface acts as a sort of altar bearing an image of the Virgin and Child with Saint Joseph behind them. Saint John the Evangelist and Saint Ildephonsus stand at a lower level in front, flanking clergyman and writer Alonso de Villegas, who is presented in a three-quarters view. His devout posture, with hands joined at chest level and a serene, withdrawn expression as he contemplates Mary and
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
En medio de un paisaje pedregoso y bajo la amenaza de un cielo de tormenta, san Juan Evangelista y san Juan Bautista se presentan en primer término y en actitud de dialogar. Cada uno aparece con la indumentaria y los atributos de su iconografía tradicional: el Evangelista es un joven imberbe que se cubre con túnica azul y un amplio manto rosáceo; bendice el cáliz del que brota un dragoncillo, refe
Luca Giordano (1634-1705) made an equestrian portrait of Charles II for the Hall of Mirrors at Madrid’s Alcázar palace to emphasize the dynastic continuum in which Charles II constituted the latest link in a chain that had begun with Titian’s portrait of Charles V: Charles V at Mühlberg. The loss of Titian’s work in the fire that ravaged the Alcázar in 1734 makes it impossible t
The Apostles sleep in the foreground, indifferent to the suffering of Christ who is attended by angels. One holds a chalice, prefiguring the Passion. The artist looked to Correggio (c. 1489-1534) in the treatment of the figures and folds of the drapery, which have details characteristic of a miniature. The canvas was in the Roman collection of the painter Carlo Maratta (1625-1713) and was acquired
Esta obra formaba parte del retablo de doña Francisca de León en la iglesia del convento sevillano del Santo Ángel, junto con P01022, P01023 y P01023, que el pintor contrató en 1605. Ingresaron en el Museo en 1829 cedidos por el deán López Cepero, que los había adquirido en 1804.
In keeping with the Gospel according to Saint Luke (22: 39-46), Christ, far from the disciples, kneels down with his hands separated and prays to the Father to take away the cup of suffering he must drink, represented by the chalice on the rock. The three apostles who accompany him, Peter, John and James, are asleep. The painting comes from the main altar piece of the church of San Lázaro i
The Triumph of Saint Hermenegild (d. 585) and of the Catholic Church over Arianism. The saint rises up to heaven surrounded by angels carrying the symbols of his origin and martyrdom: the crown and scepter of a Visigothic king, on the left; and the chains and ax of his martyrdom, on the right. On the lower part of the painting are King Leovigildo, dressed in armor, and an Arian Bishop with the cha
Taken together, these three works clearly convey a Eucharistic meaning. They depict Christ holding up the chalice and the Host, flanked by two Old Testament figures: King Melchizedek, bearing bread and wine (P00853), and the priest Aaron with a jar of incense (P00854). The three panels were part of the tabernacle of the high altar in the church of the Birth of the Virgin in Fuente de la Higuera (V
