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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 [+]
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 st [+]
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 expres [+]
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 o [+]
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 an [+]
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 [+]
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 [+]
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 mont [+]
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 in [+]
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 la [+]
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 t [+]
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 d [+]
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 sc [+]
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 an [+]
Series of paintings representing the twelve Apostles, sometimes known as apostolados, were a common sub-genre in the religious painting of the Spanish Siglo de Oro. Such images could be part of altarp [+]
This work comes from the church of Santa Ana in Lucena (Córdoba) where Mohedano was born, although it has also been attributed to the Cordovan artist Antonio del Castillo (1616-1668). The monum [+]
Forma parte de uno de los Apostolados pintados por este artista, cuyos ejemplares conocidos ofrecen una diversa calidad, tales como los que se conservan en el Museo Diocesano de Valladolid y en el Mon [+]
The Agony in the Garden, painted by Giovanni Domenico (Giandomenico) Tiepolo as part of a commission from the fathers of the convent of San Felipe Neri de Madrid, is one scene in a series of eight dep [+]
