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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 to Leonor de Mascarenhas (1503-1584), a Portuguese lady who moved to Spain in 1526 and was aya to Philip II and afterwards to his son Don Carlos. When in 1564 she founded the convent of Franciscan nuns
Mengs painted these portraits of the heirs to the Spanish throne -the prince and princess of Asturias, Carlos de Borbón and Maria Luisa of Parma- on the occasion of their wedding. As the daughter of Philip I, Duke of Parma, and Louise Isabelle of France, and thus granddaughter of Kings Philip V and Louis XV, Maria Luisa was Queen Consort of Spain between 1788 and 1808. She wears a light-col
A childhood scene located on a terrace beside a garden. Three elegantly clothed boys play with a cat. The academic drawing in the background, along with the portfolio and brush belonging to one of the boys, gave this work its name, as though it were an artistic study. This work belongs to a series of scenes related to education that sought to show the Enlightenment´s pedagogical ideas, which relat
The painting entered the Museum holdings as an original work by Jan Both. In 1959 Blunt identifies it as the landscape listed in the 1701 inventory of the Palace of the Buen Retiro and maintains the attribution to Both, as does Roethlisberger (1961). However, Waddingham (1960) ascribes it to Herman van Swanevelt, an attribution backed by Luna (1984) and officially adopted by the Museum in 1985. Th
Born in 1803, the boy wears the cadet’s uniform of the naval college. The whiteness of the suit and the painstaking detail of the embroidery on the jacket and cap afford the portrait its characteristic clarity. The sitter’s serious mood and calm bearing indicate that he has left childhood behind and is prepared for his future responsibilities, as denoted by his hand gesture. The greyish background
Christ kneels with his arms raised, looking to the heavens where a angel holds attributes of his passion: a chalice and a cross. The sleeping apostles appear in the middle ground, behind Christ to the left. This work passed from the Royal Collection to the Museo del Prado with an attribution to Juan de Juanes. In 1920, Tormo´s opinion prevailed and it was correctly cataloged as a work by his
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. When open the triptych shows the Expulsion from the Garden of Eden, the Crucifixion and the Last Judgment. The left panel shows the Expulsion from Paradise with various scenes alluding to the Creation in the arch´s orders.
Juan van der Hamen y León attained notable fame as a painter of still lifes in the court in Madrid. His early death in 1631 explains the concentration of his works from the 1620s, a brief period that nevertheless offers an interesting evolution in the typologies of his paintings, suggesting that he was open to incorporating aspects of other artists´ work. Still life with fruits and vegetabl
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 ruins of an old Tile Factory and the adjacent constuction on Príncipe Pío Hill at the Royal Seat of La Florida, Madrid. This enclave was one of the most visited by Haes and his disciples, as they often went there to do outdoor painting exercises for the San Fernando School. The intensity of the light, the tonal variations of the ochers, browns and greens, and their contrast with
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. When open the triptych shows the Expulsion from the Garden of Eden, the Crucifixion and the Last Judgment. The front and back of the lateral panels were separated at a recent date and the two scenes can now be seen simultan
The Apostles sleep in the foreground, indifferent to the suffering of Christ who is attended by angels. One holds a chalice, prefiguring the Passion. The artist looked to Correggio (c. 1489-1534) in the treatment of the figures and folds of the drapery, which have details characteristic of a miniature. The canvas was in the Roman collection of the painter Carlo Maratta (1625-1713) and was acquired
The theme of this triptych is the advent of salvation -a message about the universality of Redemption. The Eucharistic meaning inherent in the theme of Saint Gregory’s Mass is also found in The Adoration of the Magi in the wheat stored in the upper part of the hut, above the figure of the Antichrist. Unusually, Bosch includes in his depiction of the Mass of Saint Gregory in semi-grisaille seven Pa
The subject of the angelic consolation of Saint Francis became popular in the second half of the sixteenth century as a result of the Catholic Church´s renewed appreciation of his mystical experiences, almost to the exclusion of the more picturesque episodes of the saint´s life that had characterised traditional iconography; for example, his encounter with the wolf of Gubbio, and the invention of
This is the right wing of the Genealogy of the Virgin altarpiece which the Count of Barajas donated to Philip II, according to the inventory of the Alcazar of Madrid of 1600. On the reverse, Saint Bernard of Siena appears in grisaille. The painter represents Zechariah, John the Baptist´s father, in an enclosed garden, employing the squat proportions which are characteristic of this word.
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. When open the triptych shows the Expulsion from the Garden of Eden, the Crucifixion and the Last Judgment. The scenes were located beneath Gothic canopies in which various sculptural groups completed the redemptive message,
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