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Christ´s body is taken from the cross by Joseph of Arimathea and Nicodemus. On the ground, Mary Magdalene extends her arms to him while the Virgin weeps sorrowfully. The depiction of these customary figures is rounded out by the presence of a soldier with renaissance armor and two children, one with a handkerchief tied around his head. These realistic details give Machuca´s scene a special charact
The figure of Christ is depicted following the tradition of seventeenth-century Spanish religious painting, although the classical concept of beauty disseminated in Spain by Mengs and Bayeu is also evident. In addition, Goya softened the more cruel and dramatic aspects of this subject, emphasising the beauty of the nude body. The canvas was presented by the artist at the Real Academia de Bellas Ar
Figura de más de medio cuerpo, en pie; lleva cruz de pedrería al cuello, pendiente de un collar de chatones, rubíes y perlas; diadema de pedrería; cuello y puños, de puntas; mangas de color gris verdoso con adornos dorados y rojos.
The mural paintings from the Hermitage of the Vera Cruz de Maderuelo were transferred to canvas in 1947 and reconstructed at the Prado Museum in a layout as faithful to the original as possible. The walls of the chapel are decorated with figures of angels, Apostles and evangelical scenes, and the front bears two biblical themes. Dome, center: God the Father held by four angels (P07269, P07270). Le
The mural paintings from the Hermitage of the Vera Cruz de Maderuelo were transferred to canvas in 1947 and reconstructed at the Prado Museum in a layout as faithful to the original as possible. The walls of the chapel are decorated with figures of angels, Apostles and evangelical scenes, and the front bears two biblical themes. Dome, center: God the Father held by four angels (P07269, P07270). Le
This painter from Burgos represents the transition from the international Gothic style in which he was formed to the hispano-flemish style, whose models he adapts with his personal manner. The three figures -Christ, the Virgin and Saint John- are so large that they occupy the entire foreground. Very carefully painted, it was made as an independent work. The extensive use of gold, which has been ap
This view of the so-called Eagle’s Castle in Gaucín (Malaga), with the valley of the Genal River and the Plain of Gibraltar in the background, is similar to an earlier view by Villaamil’s master, the Scottish artist David Roberts (1796-1864). The touches of evening light emphasise this monumental vision of the mountains of Ronda, interpreted with a picturesque and evocative grandeur charact
Emerging from a dark background, a half-length image of a man appears in the close foreground, his right shoulder and arm bare, his hair white and long, his features aged. He holds a wooden cross in his left hand and with his right he strikes his chest with a stone. The cross identifies him as a saint; his nakedness and dishevelled appearance indicate he is a hermit or a penitent; the stone with w
The Virgin and Child are placed on a hill in the centre of the foreground, isolated from the rest of the figures, as in the Berlin panel (Gemäldegalerie ). The dark forest here begins in the middle ground behind the Virgin, merging with the background landscape to one side of the main figure. The countryside to the right, with the motifs of the farm, the village in the middle ground and the c
A full-length portrait of Queen María Luis de Parma (1751-1819), wife of King Carlos IV (1748-1819), wearing a large feathered hat and French lace, with a seventeenth-century style bustle and the sort of large skirt flattened in front and back that replaced the farthingale. The only jewelry she wears is the Cruz Estrellada award. Her hand rests on a table covered with a tablecloth on which
This work´s existence and interest were noticed by Valencian specialist and director of that city´s Museum of Fine Arts, Fernando Benito Domenech. That museum´s Juan de Juanes exhibition in 2000 included this panel and convincingly related it to the Saint Eligius Altarpiece, which the Valencian Silversmiths´ Guild had commissioned for the church of Santa Catalina in 1534. That contract called for
The mural paintings from the Hermitage of the Vera Cruz de Maderuelo were transferred to canvas in 1947 and reconstructed at the Prado Museum in a layout as faithful to the original as possible. The walls of the chapel are decorated with figures of angels, Apostles and evangelical scenes, and the front bears two biblical themes. Dome, center: God the Father held by four angels (P07269, P07270). Le
Of the people with whom Velázquez must have had contact on a daily basis at the palace, many would have been high functionaries or skilled servants of the court. His own social aspirations included becoming a member of that professional group, which he eventually joined, and he made portraits of some of them, including two now at the Museo del Prado: Diego del Corral, shown here, and his wi
A herd of bulls graze beside the backwaters of a quiet river, closely watched by the herdsmen resting on the bank. Farther back, two barges filled with local men prepare to cross the river. The closer of the two is being loaded with sacks of merchandise -possible contraband- carried by two donkeys near a ruined estate. A hill behind the lush woods that border the river is topped by an imposing for
A sketch for a ceiling at Madrid´s Royal Palace, painted in 1794. Bayeu used grisaille technique: a monochrome depiction in shades of gray and chestnut brown. The Spanish Monarchy is represented by an imposing matron wearing a helmet and surrounded by allegorical figures that constitute a group of considerable iconographic interest for which Bayeu had to conscientiously study the treatises then cu
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
Two banderoles, one above and the other below the central circle, contain Latin texts from Deuteronomy (32: 28-29 and 20), warning against the wages of sin. The upper banderole, between the tondos of Death and the Last Judgment, reads: Gens absq[ue] [con]silio e[st] et sine prudentia // deutro[m]y 32 [um//] utina[m] sapere[n]t [et] i[n]telligere[n]t ac novissi[m]a p[ro]videre[n]t (For they are a n
The first known reference to this painting from the Spanish Royal Collection dates from 1700, when it was mentioned as being in the Alcázar, Madrid, along with another painting by Luca Giordano, Mater Dolorosa, now lost. It is in magnificent condition, and was restored in 2007.The powerful foreground shows Christ, rope around his neck, painfully carrying the cross. The general tone evokes t
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