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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 f [+]
This triptych is the principal creation and the work that has given the name to an anonymous follower of Rogier van der Weyden, previously identified as Vrancke van der Stockt. The triptych belonged t [+]
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 ev [+]
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 verdo [+]
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 w [+]
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 maste [+]
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 h [+]
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 midd [+]
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 t [+]
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 inclu [+]
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 w [+]
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 incl [+]
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 [+]
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 [+]
By all indications, this panel at the Museo del Prado with the signature FERNA[N]DO GALLEG[U]S is the earliest surviving work by that painter from Salamanca. While some scholars think he must have mad [+]
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 [+]
Goya expresses the greater importance of this composition through the larger size of the figures, compared to its companion work, Tobias and the Angel (P07856). The wood shavings on the floor indicate [+]
The sitter is presented more than three-quarter length, looking directly at the viewer. He stands in a room with a curtain on the right and an end wall with a pilaster. On the table behind him are a s [+]
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