Loading...
The Garden of Earthly Delights is Bosch’s most complex and enigmatic creation. For Falkenburg the overall theme of The Garden of Earthly Delights is the fate of humanity, as in The Haywain (P02052), although Bosch visualizes this concept very differently and in a much more explicit manner in the centre panel of that triptych than in The Garden of Earthly Delights. In order to analyse the work’s me
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
This triptych was executed for the church of Saint Gudule in Brussels. According to Carel van Mander (1604) it was subsequently sold "for a very high price to Spain". Philip II sent it to El Escorial in 1586. Coxcie spent time in Italy and his style was inspired by Roman Renaissance painting. The old woman reading in The Birth of the Virgin is based on the Persian Sibyl in Michelangelo’s Sistine C
A rhomboidal garland of flowers surrounds grisaille figures of the Virgin and Child with Saint John. This is one of many examples of the collaboration between the Jesuit painter specializing in still lifes and flowers, Daniel Seghers, and the figure painter, Erasmus Quellinus. Their shared works were highly successful among European collectors during the Baroque era. The rhombic ordering of the gr
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 imposing matron wearing a helmet and surrounded by allegorical figures that constitute a group of considerable iconographic interest for which Bayeu had to conscientiously study the treatises then cu
The Triptych in the Museo del Prado labeled as Scenes from the Life of Christ is a pivotal work in the story of Valencian painting in the fifteenth century and in the transmission of the style and technique of Jan van Eyck to the Iberian Peninsula. The panel entered the Prado collection in 1931 from the convent of the Encarnación in Valencia, a Carmelite foundation established in 1502. It w
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
A lush garland of flowers, including roses and jasmine, surrounds a grisaille bust of the Virgin Mary. The motif of the Virgin surrounded by a garland of flowers was very frequent in Baroque Flemish painting. It began with models by Jan Brueghel, “the Elder”, at the beginning of the century, and was perpetuated by other artists, such as Veerendael. The fact that the central motif is a sculpture ra
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.
Two scenes are represented in this work. On the left, in a circular, Romanesque interior covered with a dome, is the Miracle of the flowering Rod, which designated Joseph as the man to marry Mary. In the building´s stained-glass windows, capitals and tympana are scenes from the Old Testament that foreshadow or announce others from the New Testament, such as the sacrifice of Isaac, which prefigures
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,
The six musician angels (triangle, harp, flute, castanets, a type of violin and a tambourine) decorated the doors of a tabernacle. Despite the chromatic variety, the choice of a cool palette produces a technical result close to grisaille. This dissonant, almost Mannerist effect combined with the expressionistic physical types and the rather sketchy treatment of the figures is characteristic of Ped
Bosch thus shows how man, irrespective of his social class or place of origin, is so possessed by the desire to enjoy and acquire material possessions that he allows himself to be deceived or seduced by the Devil. Thus the artist proposes that we should renounce earthly goods and the delights of the senses in order to avoid eternal damnation. The painting offers an exemplum of a different type to
As Pieter J. van Thiel suggests, this painting may be a copy made after an engraving by Jan Muller (1590) of Cornelisz. van Haarlem`s original Fortune bestowing her Favours, today at the Musée d´art et d´histoire of Geneva, which is also known through a grisaille executed by van Haarlem himself as a model for the engraving and through a copy of the original painting (Gothenburg, Götebo
Francisco Bayeu, who came from minor nobility, trained in Zaragoza under José Luzán (who, years later, would also teach Francisco de Goya). However, a decisive change in the young Bayeu´s style came about under the influence of Antonio González Velázquez (1723-93), who visited Zaragoza soon after returning from Italy in 1752, carrying models and drawings by his Italian
The image of the titular saint seated on a richly decorated Gothic throne was the central effigy of many Spanish late mediaeval altarpieces. Here we see a hieratic Saint James with his pilgrim’s attributes enthroned on a monumental cathedra in grisaille, adorned with lively marginalia. Kneeling at his feet, the figure of the donor may evoke a desire to go on a pilgrimage to Compostela or simply de
This painting commemorates events that took place in 1571: the defeat of the Turkish armada at Lepanto on October 7, and the birth of the infante Fernando, heir to the throne, on December 5th. The proximity of these two events led them to be viewed repeatedly as gifts from Heaven in circles close to the monarch. Thus, a letter from Luis de Requesens, Governer of Milan to Sancho de Padilla, dated D
This canvas and its pendant (P7930) must have been part of a series of similar works painted between 1670 and 1680, as indicated by a third piece (Abelló Collection). Together, they bear witness to the artist’s mastery of both real and imaginary floral subjects, and in fact, he was a specialist in this genre, with a distinguished reputation among his colleagues during the second half of the
%3b+The+Birth+of+the+Virgin+(left)%3b+The+Presentation+of+the+Virgin+(right)&imagen=https%3a%2f%2fcontent3.cdnprado.net%2fimagenes%2fDocumentos%2fimgsem%2f09%2f099c%2f099c0135-9f05-486c-b65c-cbcb8bec64fa%2f6a4095af-411f-421d-aafd-a8400740ddb3_268.jpg&idobra=099c0135-9f05-486c-b65c-cbcb8bec64fa){kind=link}
