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This majestic image was part of a cycle of seven altarpieces commissioned in 1767 for the new royal church of San Pascual Bailón at Aranjuez, founded by Charles III in the same year. The altarpieces comprised the entire pictorial decoration of this Alcantarine Franciscan church, which was built in an austere classical style. The subjects of the altarpieces reflected some of the most importa
Sebastian was a Roman soldier who suffered martyrdom for his Christian faith during the reign of Diocletian and Maximian at the end of the third century. He was made a patron saint of the city of Rome and his cult became popular throughout Europe as he was invoked in times of plague. Sebastian is usually shown bound to a tree and shot with arrows in what turned out to be a first failed attempt at
Lucas Velázquez drew his inspiration from different sources over the course of his career. Like Alenza, he drew on Siglo de Oro and Dutch painting for some of his landscapes, whose fantastic character allows us to relate them to works by Pérez Villaamil, although Velázquez’s execution is more frank and direct, with a clear tendency toward expressive sketchiness.His fertile ima
Although this painting bears a curious apocryphal signature in large letters at the lower left corner of the canvas, Pérez Sanchez (1983) attributed it to Victoria in 1983 on the basis of its Valencian provenance and that clergyman’s (he was a canon) reputation for making works of this sort. But, while other collections have similar pieces, this attribution raises doubts that may eventually
This painting presents the moment when the Archangel Gabriel, holding a spray of lilies, appears to the Virgin Mary and announces that she will give birth to the Son of God. Mary is depicted kneeling at prayer before an open book resting on a table, at the foot of which sits a sewing basket that alludes to the domestic seclusion in which she lived. The Annunciation proved to be one of the most pop
The two children portrayed here were the children of the Grand Duke of Tuscany, Leopold of Habsburg –who became Emperor of the Holy Roman Empire in 1790–, and Maria Luisa of Bourbon, daughter of Charles III. This commission might have come from the Spanish monarch, who wanted a portrait of his grandchildren, painted in Florence in 1770. Ferdinand (1769-1824), standing, is playing with the chain of
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
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
Painted in Venice, the painting is part of the series of eight scenes from the Passion of Christ comprising works P355 to P362. They came from the Convent of San Felipe Neri, Madrid, from which they were transferred to the Museo de la Trinidad. We have little knowledge of the conditions set forth in the contract (if one ever existed) by the secular clerics of San Felipe Neri. Therefore, we have no
Dressed in white with the Crown of Thorns, Jesus has fallen under the weight of the Cross, on the path to Calvary. Behind him are Simon of Cyrene, who helps him with the Cross, and the Holy Women, one of whom carries the sign with the inscription INRI with will later be placed on the Cross; as well as a group of people who accompany Jesus to mount Golgotha, where he is to be crucified. Golgotha is
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
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
Identifiable by her jar of ointment, Mary Magdalene prays before a crucifix. Cano’s outstanding compositional skills allowed him to adapt himself to the dictates of the frame and make full use of the narrow format, locating the recumbent saint in a pictorial plane very close to the viewer. The artist creates a beautiful play of contrasts between the golden tone of the Magdalene’s hair, her ivory s
The old attribution to the Mannerist painter Pellegrino Tibaldi (1527-1596) may have been suggested by the handling, with its extensive passages of white heightening, as well as the Michelangelesque figure types. Originally from the Ticino, Tibaldi spent his youth in Bologna, later transferring to Rome, where he spent much of his early career. Towards the end of his life, in 1585/86, he moved to S
Neoclassical painter Anton Raphael Mengs spent some eleven years in Spain -from 1761 to 1769, and again from 1774 to 1777- working primarily on the decoration of Madrid’s Royal Palace for King Charles III. For the king’s bedroom, Mengs made a series of easel paintings on the Passion of Christ -most importantly, Descent from the Cross, Patrimonio Nacional, on permanent loan to the Museu Nacional d’
Created in the tumultuous years of the war, Sketchbook F offers a set of drawings marked by cruelty. Among the most heartrending of these is this unequal struggle between a man and a woman, by means of which Goya demonstrates his capacity to depict the essence of gender violence. The somber atmosphere of the bedroom and the lights cast on the bodies dressed in their nightgowns show the movement of
Preparatory drawing for Disasters of War, 59, What is the use of a cup?.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) that is remote from the propagandistic images produced by his contemporaries. Through his etchings the artist condemned the irrationality of war and the brutality of bot
The scene takes place in an architectural setting with an open sarcophagus (onto which the saint is half-kneeling) and an altar on the right. On the left, Saint Ildephonsus, wearing pontifical vestments, holds out his hands to receive the scissors that Recceswinth offers while standing behind the tomb. The attribution to Cajés is perfectly plausible in view of the character, the technique a
