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This panel depicts the Crucifixion with Christ on the cross, the Virgin Mary and Saint John. Flanking them are Saints Jerome, James the Apostle, Mary Magdalene and Catherine, accompanied by the donor’s extensive family. The background landscape includes a view of Jerusalem, shown as a Flemish city of the artist’s period. The anonymous painter reveals a detailed knowledge of the works produced in G
The workshop of Jan Massys (c. 1509-1575) in Amberes produced a number of copies of this image based on a protoype by Quinten Massys, Jan’s father. Notable is the saint’s powerful look, which bestows dignity upon him. In line with new humanist ideas, the Church Father’s appearance of an aged scholar is abandoned, while the reference to the transience of life made through the skull and the depictio
The half-length figure of an old man is depicted against a dark background. He looks at the viewer out of the corner of his eye, with his torso turned slightly to the left and his head to the right, as he holds a candle in his right hand to light up a manuscript in his left, of which we can only see the back. Old Man reading by Candlelight is clearly a night scene, a genre in which Schalcken speci
Two Eastern merchants go over their accounts, leaning over a table illuminated by light flooding through a window on the left of the composition. Under their plank table are two full sacks. Two women read a book in the background and in the foreground is a bird, the traditional symbol of trust and loyalty in commercial relations. This work was commissioned by Manuel Godoy (1767-1851), prince of Pe
This work is part of the series of six panels of monkey scenes in the Museo Nacional del Prado (from P01805 to P01810). The subject matter is drawn from the oeuvre of Pieter Brueghel the Elder and Peter van der Borcht, which has been associated with the foolishness of man since the Middle Ages. Teniers successfully captures the ambivalence of mankind in its animal nature.The teacher is punishing o
Traditionally this painting has been considered a copy of the original by Gerard Dou which, according to Somof (1901) and Martin (1913), was in the State Hermitage Museum in St Petersburg, but whose present whereabouts is unknown. The oval format of the Hermitage picture would appear to belie this hypothesis. Moreover, the presence of a pillar on the right in the background suggests it may be a co
This painting enters the Museum as the work of Salomon Koninck, an attribution which remains valid until the 1963 catalogue, when, according to Valdivieso (1973), a proposal by Clotilde Brière-Misme and Horst Gerson cause it to be attributed to Abraham van den Hecken (active 1635-1655).However, despite the harsh modelling of the facial features, the compositional arrangement and, above all,
Representation of San Marcos and San Lucas, which, subject and size , it must be part of an altarpiece predella. Along with San Mateo y san Juan Evangelista (P-1065), they depict the four Evangelists as two pairs, engaged in the writing of their Gospels and located before atmospheric landscapes. Ribalta deployed a detailed, delicate brushstroke characteristic of a miniature painter and indicative
The painting played a major role in the rediscovery of Marinus’ work, in particular its relation to the production of Albrecht Dürer. It carries the date of 1521, the year that Dürer visited Antwerp and painted a Saint Jerome for Rui (Rodrigo) Fernandes de Almada, now in Lisbon (Museu Nacional de Arte Antiga, inv. 828). Although it was suspected early on that the signature and date must
Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration
A preparatory drawing for the aquatint, Capricho 39, As Far Back as his Grandfather (G02127), this is one of twenty-six pen drawings from the Dreams series that constitutes the basis for the Caprichos. It is taken from a satirical drawing in the Madrid Album that dates from 1794-1795 and is thus earlier than the graphic project for the Caprichos. Unrelated to the engraving’s purpose, the India-ink
