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The mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter. The private and intimate character of that house allowed the artist to express himself with great liberty. He painted directly on the walls in what must
A devotional work that shows the Virgin against a delicate gold background. A window sill inscribed with the signature and a fragment of the mantle establish a realist caesura with the gaze of the viewer-worshipper. For this work, destined for private contemplation in a domestic setting, Master Bartolomé made use of a technical refinement that differs from his characteristically stark expre
The painter, of Riojan origin, completed his artistic formation with Jean Changenet in Avignon (doc. 1493). When he returned to Castile he worked in Palencia and Burgos. The simplification of volumes in his work and the importance given to light show the influence of Provencal art. Besides the sculptural image of the bishop and saint, there is a striking contrast between the realist design of the
The mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter. The private and intimate character of that house allowed the artist to express himself with great liberty. He painted directly on the walls in what must
The mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter. The private and intimate character of that house allowed the artist to express himself with great liberty. He painted directly on the walls in what must
This painter from Burgos represents the transition from the international Gothic style in which he was formed to the hispano-flemish style, whose models he adapts with his personal manner. The three figures -Christ, the Virgin and Saint John- are so large that they occupy the entire foreground. Very carefully painted, it was made as an independent work. The extensive use of gold, which has been ap
The Master of Miraflores is the author of the six panels (P705–P710) dedicated to the Baptist from the Burgos Charterhouse. In these works, he depicts simplified volumes and figures immersed in thought according to the style of Petrus Christus or Dirk Bouts.
The mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter. The private and intimate character of that house allowed the artist to express himself with great liberty. He painted directly on the walls in what must
This is the left panel of the Altar Piece of the Pietà, Saint Michael and Saint Catherine from the church of Santa María in Ejea de los Caballeros (Zaragoza). The painter, originally from Pareja (Guadalajara) and active in Aragon, shows the archangel dressed in armour and a cloak, driving his lance into the head of the demon beneath his feet.Wearing armour and a cloak, the archangel
This is one of Bernat’s early works and is very similar to the work of Bermejo in the anatomy, colour and slim proportions of the figures in it -Saint John, the Magdalene, Longinus- as well as the little use of gold in the figures and in the scenery. The composition, a grandiose crucifixion which could have been completed in Bermejo’s workshop and with his help, is based on that of the altar piece
This is the central panel of the altar piece in the archdeacon’s chapel in the cathedral of Zaragoza, built by Bernardo Villalba, archdeacon of this city, and Jaime Hospital, canon and archdeacon of Belchite. Giner represents Saint Vincent dressed as a deacon with two angels playing instruments and the donor kneeling on the left. He is on his feet, stepping on a moor; he has a book and a palm in o
On his throne, wearing a red tunic and holding the globe of the World in his left hand, Christ offers his blessing with his right. He is flanked by figures representing the Church and the Synagogue and surrounded by the Tetramorph. Christ is presented as the Savior of the world in this work that contrasts the figure of the Synagogue, with Moses’s tablets and a torn banner; and the figure of the Ch
The mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter. The private and intimate character of that house allowed the artist to express himself with great liberty. He painted directly on the walls in what must
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 mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter. The private and intimate character of that house allowed the artist to express himself with great liberty. He painted directly on the walls in what must
By all indications, this panel at the Museo del Prado with the signature FERNA[N]DO GALLEG[U]S is the earliest surviving work by that painter from Salamanca. While some scholars think he must have made it around 1480, the donor’s fashionable clothing, short hair and high cap suggest that the artist must not have painted this panel any later than 1470, and it very likely dates from a few years earl
