Loading...
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 to be hung at a quite high. Preti was a prolific painter who worked in Rome, Naples and Malta, where he was knighted and where he probably painted this work.
This painting is a copy of the lower part of El Greco’s celebrated original on display in the church of Santo Tomé, Toledo. A work of considerable quality, it reveals an interesting variety of pictorial devices: heavily charged brushstrokes in the areas of the chasubles and ruffs, with the pigment dragged and scumbled in other zones such as the Franciscan’s habit. It was formerly in the Jes
This miraculous scene from the life of Saint Ildefonso portrays the moment when the Virgin descended from Heaven to give him a chasuble as a prize for his praises. The choice of this subject corresponds to the Counterreformation policy carried out in Spain, where devotion to Mary was one of its fundamental pillars. The composition is divided into an upper, divine world and a lower, earthly one. Th
For more than twenty years Eugenio Cajés was court painter, focusing primarily on the production of religious works executed in a delicate style with soft lines and gentle, impassive faces. This panel may have been part of an altarpiece although its small format also suggests a work intended for private devotion. The detailed brushstroke, delicate lighting and use of a wood panel are all ch
While meditating on which of the two to focus his devotions, Christ on the cross and the Virgin appeared to Saint Augustine. Christ offered him the blood from the wound in his side, while Mary rewarded him with her milk. This canvas was originally in the Sevillian monastery of San Agustín. The upper part with angels was added in the eighteenth century.
One of the venerated saints in the city of Madrid was Saint Nicholas of Bari. It is precisely within the devotional context of this saint that this drawing by Vicente Carducho should be studied. In the drawing, Saint Nicholas appears full-length, dressed in pontifical vestments and displaying all the elements of his position as ecclesiastical dignitary: the chasuble, the staff and the mitre. At hi
Es una litografía de Augusto Guglielmi (activo en Madrid entre 1829 y 1837) que reproduce el óleo de Juan de Juanes conservado en el Museo Nacional del Prado (P00841), pintado para el retablo de la iglesia de san Esteban en Valencia e ingresó en el museo en 1801, bajo el reinado de Carlos IV, junto con el resto de tablas (véase P00838, P00839, P00840, P00841, P0842 y P00846). Esta estampa se entre
Es una litografía de Augusto Guglielmi (activo en Madrid entre 1829 y 1837) que reproduce el óleo de Juan de Juanes conservado en el Museo Nacional del Prado (P00841), pintado para el retablo de la iglesia de san Esteban en Valencia e ingresó en el museo en 1801, bajo el reinado de Carlos IV, junto con el resto de tablas (P00838, P00839, P00840, P00841, P0842 y P00846). Esta estampa se entregaba c
Es una litografía de Augusto Guglielmi (activo en Madrid entre 1829 y 1837) que reproduce el óleo de Juan de Juanes conservado en el Museo Nacional del Prado (P00841), pintado para el retablo de la iglesia de san Esteban en Valencia e ingresó en el museo en 1801, bajo el reinado de Carlos IV, junto con el resto de tablas (P00838, P00839, P00840, P00841, P0842 y P00846). Esta estampa se entregaba c
