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The Denial of Saint Peter
Oil on canvas. 1625 - 1626
Tournier, Nicolas
The Denial of Saint Peter
Oil on canvas. 1625 - 1626
Tournier, Nicolas

This is one of the most complex compositions by Nicholas Tournier, a French follower of Caravaggio. On the right the Apostle denies Christ three times while on the left and remote from the scene, four soldiers play dice. Tournier worked in Rome until 1626 when he returned to France, where he died in 1639.

The Stripping of Christ
Oil on canvas. 1772
Tiepolo, Giovanni Domenico
The Stripping of Christ
Oil on canvas. 1772
Tiepolo, Giovanni Domenico

Painted in Venice, the painting is part of the series of eight scenes from the Passion of Christ comprising works P00355 to P00362. They came from the Convent of San Felipe Neri in Madrid, from where they were transferred to the Museo de la Trinidad. We have little knowledge of the conditions laid down in the contract (if one ever existed) by the secular clerics of San Felipe Neri in Madrid. There

Portrait of a Gentleman
Oil on panel. 1550 - 1555
Volterra, Daniele Ricciarelli Da
Portrait of a Gentleman
Oil on panel. 1550 - 1555
Volterra, Daniele Ricciarelli Da

Michel Hochmann identified the painting in the Capodimonte as the ‘Quadretto corniciato di pero tinto con un ritratto di un giovane, in pietra di Genova, di mano del medesimo [Daniele]’ refered to in the 1600 inventory of the possessions of the antiquarian Fulvio Orsini (1529–1600). The artist referred to is Daniele Ricciarelli, known as Daniele da Volterra, and the attribution of the work seems s

The Triumph of Death
Oil on panel. 1562 - 1563
Bruegel The Elder, Pieter
The Triumph of Death
Oil on panel. 1562 - 1563
Bruegel The Elder, Pieter

In this moral work, the triumph of Death over mundane things is symbolized by a large army of skeletons razing the Earth. The background is a barren landscape in which scenes of destruction are still taking place. In the foreground, Death leads his armies from his reddish horse, destroying the world of the living. The latter are led to an enormous coffin with no hope for salvation. All of the soci

The Banks of the Manzanares in the Fall
Oil on canvas. 1910
Beruete, Aureliano de
The Banks of the Manzanares in the Fall
Oil on canvas. 1910
Beruete, Aureliano de

While Beruete’s landscapes are generally wide and open, he occasionally painted more secluded ones, like this bend in the Manzanares River on the outskirts of Madrid. This is not a rigorous wooded landscape, as it is somewhat more capacious, but the closeness of the river’s water around the ridge bearing the tree in the foreground is striking.During this final period of the artist’s life, he emplo

Visio Tondali
Oil on panel. XV century
Bosch, Hieronymus (Copy)
Visio Tondali
Oil on panel. XV century
Bosch, Hieronymus (Copy)

Visio Tondalii fue el título de un poema anónimo del siglo XII de contenido moralizante, impreso en Amberes en 1482, que es considerado como una de las fuentes literarias de la obra de El Bosco.

Decorative scrolls of a funerary nature
Pencil, Coloured wash on yellow laid paper. XVIII century
Ribera, Pedro de
Decorative scrolls of a funerary nature
Pencil, Coloured wash on yellow laid paper. XVIII century
Ribera, Pedro de

Given its funerary nature (as indicated by the inclusion of skeletons with scythes, a skull and crossbones), this decorative fragment must belong to a group of objects used in funeral rites. The presence of instruments of war, armour, spears and flags suggests the funeral of a knight, a public official or a military dignitary.The nature of the drawing likens it to the frame and garlands that accom

The Last Supper
Gouache / tempera on parchment, beech panel. Ca. 1500
Alexandre, Ruperto (Attributed To)
The Last Supper
Gouache / tempera on parchment, beech panel. Ca. 1500
Alexandre, Ruperto (Attributed To)

La miniatura principal representa una Última Cena, en una escena de considerables dimensiones para la miniatura española del período (116 x 148 mm). Sigue la iconografía habitual, dentro de un esquema aproximadamente simétrico. Cristo aparece en el centro, con san Juan apoyado en su regazo. A la derecha cinco apóstoles, del que el único reconocible es san Pedro, con los brazos en alto, ante la sor

Holy Bishop / Mausoleum Project
Red chalk on green paper. XVIII century
Castro, Felipe de
Holy Bishop / Mausoleum Project
Red chalk on green paper. XVIII century
Castro, Felipe de

On the right, a figure in profile wears pontifical dress. He extends his right arm, pointing at something. An acolyte with a book kneels at his feet, raises his head towards the saint, and points with his left arm in the same direction. There is a landscape background with architecture. The mausoleum on the verso shows an urn, above which a female figure holds up an oval portrait of the deceased.

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