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According to the inscription on the right, this is a portrait of the painter and friend of Madrazo, Eduardo Rosales. The detailed rendering of the face in profile stands out against the neutral green [+]
The scene depicts one of the most dramatic moments of the Passion and Death of Christ, when the Virgin, accompanied by Mary Magdalene who kisses the Redeemer´s hand, and by Saint John who contem [+]
This likeness of the Franciscan clergyman is a significant example of elongated bust portraits that are quiet customary in the Western figurative tradition. Such works allow a closer approach to the m [+]
Humanity´s rebirth after the flood is represented in Greek mythology through the story of Deucalion and Pyrrha. After surviving the disaster, they threw stones over their shoulders, each of which beca [+]
We know from a letter of 30 June 1553 from the Spanish Ambassador in Venice that Titian was waiting for instructions from the emperor to paint a panel of Our Lady the same as the Ecce Homo which Your [+]
En un bellísimo paisaje, pleno de luz y diferentes detalles, a cuál más refinado y auténtico, tomado del amplísimo repertorio que ofrece la naturaleza, en cuyos fondos se aprecian unas edificaciones, [+]
In response to Satan’s attacks on the early Dominicans, a procession is established in honour of the Virgin in which the "Salve Regina" is sung. In this panel, which was executed for the altarpiece of [+]
This painting is part of a series of pictures of the Royal Sites which includes five panoramas of El Escorial from different viewpoints. They are all unmistakably descriptive in nature as the emphasis [+]
In late 1629, the thirty-year-old Velázquez went to Italy for the first time, remaining there for more than a year. During this trip he executed various history paintings, some portraits and at [+]
A satyr fills the wineglass of a fat, grotesque Silenus who smiles at another satyr seen from behind. This comic treatment of the classical myth derives from Ribera with whom Fracanzano worked from ar [+]
Sitting on a sumptuous chair, the Virgin tenderly contemplates the nude Christ child, whose expression is pensive and informal. Above them, two cherubs crown Mary. Michelangelo’s sculpture, the Madonn [+]
Modigliani identified the sitter as Agnese, the painter’s sister-in-law, through her resemblance to the woman who appears in the Portrait of Arrigo Licinio and his Family (Rome, Galleria Borghese, inv [+]
A landscape with waterfalls appears at one side of the composition. At the other, various buildings oppose their rational and geometrical mass to Nature’s freer expression. The canvas’s human presence [+]
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 tec [+]
In this half-length portrait, the young man wears a red cap and holds a musical instrument that combine features of both the vihuela and the violin. While only partially visible, its fretted neck sugg [+]
The position of the figures, looking at each other, is common for diptych paintings. However, we do not know if these were originally painted as pendants to each other. In 1597, this panel and Virgin [+]
Batoni combined the sobriety and naturalism of Neo-classical portraiture with the elegance and sensual appeal of Italian painting. George Legge, an English aristocrat making the Grand Tour, was a frie [+]
A lady seated in a garden is handed a basket of roses by a boy. The profusion of flowers around her and the crown on her head, as well as her location in a courtly garden with a statue in the backgrou [+]
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