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The Annunciation
Mixed method on panel transferred to canvas. Ca. 1500
Master Of la Sisla
The Annunciation
Mixed method on panel transferred to canvas. Ca. 1500
Master Of la Sisla

The Death of the Virgin
Mixed method on panel transferred to canvas. Ca. 1500
Master Of la Sisla
The Death of the Virgin
Mixed method on panel transferred to canvas. Ca. 1500
Master Of la Sisla

Excepting some variants, such as the window opening onto a landscape or the face of the Virgin, this painting reproduces the composition of an engraving by Martin Schongauer, which accounts for its aesthetic links with productions from the region of Alsace and the Upper Rhine. Like the Master of La Sisla, other painters active in Spain in the late 15th century also drew inspiration from the prints

The Adoration of the Magi
Mixed method on panel transferred to canvas. Ca. 1500
Master Of la Sisla
The Adoration of the Magi
Mixed method on panel transferred to canvas. Ca. 1500
Master Of la Sisla

The Presentation of Jesus in the Temple
Mixed method on panel transferred to canvas. Ca. 1500
Master Of la Sisla
The Presentation of Jesus in the Temple
Mixed method on panel transferred to canvas. Ca. 1500
Master Of la Sisla

Mary, who is very richly dressed, is holding the Christ child above the altar; Joseph is at her side. Simeon is also in the room, along with some women, one of whom has a basket with two doves in it. The painting comes, together with five others of the same group (P-1254-P-1259), from the Hieronomite monastery of La Sisla (Toledo).

The Visitation
Mixed method on panel transferred to canvas. Ca. 1500
Master Of la Sisla
The Visitation
Mixed method on panel transferred to canvas. Ca. 1500
Master Of la Sisla

The Crucifixion
Oil on canvas. Ca. 1613
Tristán, Luis
The Crucifixion
Oil on canvas. Ca. 1613
Tristán, Luis

This depiction of Christ, lifeless on the cross and flanked by the Virgin Mary and Saint John, is considered one of the finest of many images of Calvary painted by this artist from Toledo. It is also a significant example of his painting, which owes much to the compositions and figurative models of his fundamental teacher in Toledo: El Greco. Finally, it reflects the Carravaggesque chiaroscuros sh

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