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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.
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
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
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
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 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.
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
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
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.
