Loading...
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
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
The Descent from the Cross was painted for the Chapel of Our Lady Outside the Walls at Leuven, which was founded in the fourteenth century by the Great Crossbowmen`s Guild, sold in 1798 and demolished soon afterwards. The two small crossbows that hang from the tracery in the corners of the panel indicate that it was commissioned by that guild. The earliest datable copy, the Edelheere Triptych of 1
This pagan scene shows the offer that the Bacchants, or followers of Bacchus, made to their god. In the center, a priest offers the sacrifice on an altar in front of the statue of the deity crowned with grape leaves. All around, those attending the feast drink, or appear totally inebriated, sleeping off the effects of the wine. This mythological scene shows how Houasse was influenced by the tradit
This emblematic picture is undoubtedly the best-known work on a social theme produced by Sorolla in his youth. It is also an especially good example of how fully the artist became involved in a genre which, at the time, was of particular relevance in Madrid’s official artistic circles, where Sorolla was determined to receive his first public recognition. The depth of its meaning is probably indica
The format and the dimensions of this picture and the high horizon line allow for rendition of a large landscape, which displays what are generally regarded as the defining characteristics of Patinir`s style. Like the Rest on the Flight into Egypt (P1611), the foreground figures are shown on top of a hill in a scale suited to the proportions of the panel. On the much lower level of the middle grou
An extremely broad development certainly makes this one of the most ambitious and complex depictions of the Immaculate Conception ever painted in Madrid, as well as one of the finest by this painter. In an iconographic sense, it closely follows the traditional model for this subject, presenting the Virgin as the Woman of the Apocalypse (chap. XII, 1).Upright and walking on the lunar globe, crowned
This painting tells of Jacob the Patriarch´s mysterious dream, as told in Genesis. He appears asleep, lying on his left shoulder with a tree behind him. On the other side is the ladder of light, by which the angels ascend and descend. This subject demonstrates Ribera´s skill at constructing metaphoric discourse. He uses the image of a shepherd resting in the countryside to describe one of the best
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
This scene depicts a bishop with cape and mitre, reverently approaching an image of the crucified Jesus, which is held by several workmen and which stands on a ladder. Behind him, several servants hold the bishop’s staff and the episcopal cross. Above him, there are cherubs. The drawing – very Valencian in nature and with a composition and models that recall Espinosa – must refer to an episode of
This is a copy after the fresco by Antonio Campi, datable 1560-64, in S. Paolo Converso, Milán. The late eighteenth-century Italian copyist may have been the same as was responsible for the drawing of the Mystic Marriage of St. Catherine. The entire verso of the sheet is covered with pen trials and miscellaneous scribbles. According to the Golden Legend, Patroclus fell from a ladder placed
This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints
Execution scenes constitute one of the most outstanding thematic groups in the series. The significant number of prints depicting different versions of this form of repression and extreme violence—Disasters 14, 15, 26, 28, 29, 31 and 39—includes some of the most impressive in terms of expressivity and formal perfection. Viewed as a group, they offer a broad panorama of the terrible diversity of re
This splendid locket, made of embossed silver, depicts an image of the Holy Face of Christ on a gold background surrounded by some of the attributes of the Passion on the front: the crown of thorns, nails, spear and rod with sponge and ladder. The rear side features several tiny bone fragments along with a handwritten label that tells us that they belong to Saint John of the Cross (1542-1591), the
