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The Descent from the Cross
Oil on panel. Ca. 1545
Correa de Vivar, Juan
The Descent from the Cross
Oil on panel. Ca. 1545
Correa de Vivar, Juan

This New Testament scene depicts the Descent from the Cross of Christ´s body (Matthew 28, 57-61; Mark 15, 42-47; Luke 23, 50-55; John 19, 38-42). Joseph of Arimathea, Nicodemus and Saint John the Evangelist remove the nails and take down the Holy Body, while Mary Magdalene laments at his feet and the Virgin is consoled by other holy women. This is considered one of Correa´s finest works. The balan

The Resurrection of Christ
Tempera on pine panel. Second third of the XVI century
Correa de Vivar, Juan
The Resurrection of Christ
Tempera on pine panel. Second third of the XVI century
Correa de Vivar, Juan

Christ returned to life, triumphant alongside the sarcophagus that held his body for three days after his death on Golgotha, was a frequent subject in Correa´s work. The retable for the convent of the Poor Clares in Griñon (Madrid), dated around 1532-1534, shaped its essential compositional structure, with Christ at the center over a stone staircase bearing the sarcophagus and flanked by so

The Penitent Magdalene in the Grotto of Sainte-Baume
Oil on panel. 1612 - 1614
Maíno, Fray Juan Bautista
The Penitent Magdalene in the Grotto of Sainte-Baume
Oil on panel. 1612 - 1614
Maíno, Fray Juan Bautista

On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight months to make the paintings, which had to portray the scenes and episodes specified by the prior of the monastery. Despite the agreement reached in the contract, the paintings were not completed until De

The Poultry Vendor
Oil on canvas. 1626
Loarte, Alejandro de
The Poultry Vendor
Oil on canvas. 1626
Loarte, Alejandro de

This is Loarte’s most ambitious work among his still lifes. A depiction of a market stall in the Plaza de Zocodover in Toledo, it marks the end of a career cut short by the artist’s early death. Brushwork, colour and lighting are used to create a composition of notable visual impact, of which another version of the same date is known.

Noli me Tangere
Oil on canvas. 1630 - 1635
Núñez del Valle, Pedro
Noli me Tangere
Oil on canvas. 1630 - 1635
Núñez del Valle, Pedro

As depicted here, the encounter between Mary Magdalene and the resurrected Christ follows a composition by Dürer. Characteristic of this painter, born in Madrid and trained in Rome, are the human types, the Caravaggesque influence on the colouring and light, and the landscape deriving from Bolognese classicism. The frame is of the Tuscan and Emilian type of the first half of the seventeenth c

Pentecost
Oil on canvas. 1615 - 1620
Maíno, Fray Juan Bautista
Pentecost
Oil on canvas. 1615 - 1620
Maíno, Fray Juan Bautista

Shortly after he painted the Pentecost for the high altar of the church of San Pedro Mártir in Toledo, Maíno executed this second version on a larger scale and in a wider format, which allowed him to position the fourteen figures in the scene in a balanced manner. Mary occupies the centre of the composition with the Apostles on either side of her, six standing just behind her and six

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

Infanta Isabel Clara Eugenia and Magdalena Ruiz
Oil on canvas. 1585 - 1588
Sánchez Coello, Alonso
Infanta Isabel Clara Eugenia and Magdalena Ruiz
Oil on canvas. 1585 - 1588
Sánchez Coello, Alonso

Alonso Sánchez Coello was court painter to Philip II and he united two different pictorial styles developed in the mid sixteenth century by Titian and Anthonis Mor respectively. Sánchez Coello´s images are austere in their presentation, yet they include certain symbolic elements that place the sitters in a suitable context easily legible to the viewer. The sitters´ dress and certain

Prince Philip and the Dwarf, Miguel Soplillo
Oil on canvas. Ca. 1620
Villandrando, Rodrigo de
Prince Philip and the Dwarf, Miguel Soplillo
Oil on canvas. Ca. 1620
Villandrando, Rodrigo de

Shortly after this portrait was painted the sitter, the Prince of Asturias, was proclaimed King of Spain and Portugal. Here the future Philip IV wears Portuguese ceremonial dress, in white and gold. He is accompanied by the dwarf Miguelito el Soplillo, a popular figure at the Spanish court, who came originally from the Low Countries.

Christ carrying the Cross, contemplated by Mary and the Christian Soul
Oil on canvas. 1630 - 1650
Diriksen, Felipe
Christ carrying the Cross, contemplated by Mary and the Christian Soul
Oil on canvas. 1630 - 1650
Diriksen, Felipe

This is the only work in the Prado by Diriksen, a royal archer and a painter with a small oeuvre. His style, based on soft, fluid brushstrokes and contrasting illumination, suggests Eugenio Cajés. For this composition he made use of Titian’s Christ on the Route to Calvary (P00439), adding the figures of Mary and a young woman (the Christian soul), the latter probably a portrait of his daugh

Isabel Clara Eugenia
Oil on canvas. 1591 - 1592
Anonymous; Kraek, Jan ( Also Called Giovanni Caracca)
Isabel Clara Eugenia
Oil on canvas. 1591 - 1592
Anonymous; Kraek, Jan ( Also Called Giovanni Caracca)

Tras la muerte de Felipe II la corte quedó sumida en el luto, y así se hizo retratar su hija Isabel Clara Eugenia en esta obra. Viste saya negra de la que asoman manguillas de raso blanco con bordaduras en oro. El tocado es más complejo, con flores -jazmines- y cintas rojas con perlas. Se reconocen algunas joyas como el famoso rubí, diamante y perla que heredó de Ana de Austria y que luce en su re

The Penitent Mary Magdalen
Black chalk on yellow laid paper. XVII century
Ruiz González, Pedro
The Penitent Mary Magdalen
Black chalk on yellow laid paper. XVII century
Ruiz González, Pedro

The drawing depicts Mary Magdalen in half-length, naked and with her head raised. As Sánchez Cantón already pointed out (1943), although almost insignificant, the use of soft pencil continues to be a traditional characteristic in the work of Carreño and his pupils.

Female half-figure / Hand study
Red chalk on laid paper. 1690 - 1695
Ruiz de la Iglesia, Francisco Ignacio
Female half-figure / Hand study
Red chalk on laid paper. 1690 - 1695
Ruiz de la Iglesia, Francisco Ignacio

The drawing Female half-figure, which Pérez Sánchez tentatively attributed to Antonio Palomino, can be attributed with complete certainty to Ruiz de la Iglesia’s catalogue of drawings. The figure is depicted with her head raised, leaning slightly to the right of the picture plane with her hands crossed on her chest. She directs her gaze to the sky with an expression of divine ecstasy

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