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Jesus is shown half-length, crowned with thorns and with a haggard face, parted lips, prominent cheekbones, and moist eyes raised in an attitude of submission to the divine will. His hair, beard, mous [+]
The dimensions, format, theme, support and pictorial style of these three works -The Crucifixion (P8211), Lamentation over the Dead Christ (Museo de Salamanca, CE 106) and The Resurrection (P8212)- al [+]
It is not known when or how these two paintings -Saint John the Baptist and Saint Juan de Ribera (P947)- came to be the property of Luisa Enríquez, but their common provenance has never been se [+]
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 [+]
In a single sequence, the painting shows the Archangel Gabriel’s greeting to Mary, his announce ment to her that she has been designated as the mother of the son of God, and her acceptance of the divi [+]
Morales here presents us with one of his most successful and heartwarming subjects, that of the Virgin and Child, although he also includes in this case the figure of the infant St John the Baptist, w [+]
Large-format versions of the Virgin holding the dead body of Christ, like those at Badajoz Cathedral and at the Real Academia de Bellas Artes de San Fernando, gave way in Morales’s oeuvre to smaller c [+]
It is extremely likely that these two panels, -The Adoration of the Magi and The Adoration of the Shepherds-, similar in format, measurements and style, belonged to the predella of the same altarpiece [+]
The crucifixion of Christ is depicted by the artist in a barren, desolate landscape, a setting essentially undefined thanks to an enormous neutral background intended to heighten its dramatic effect. [+]
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 [+]
A slightly more than half-length image of Jesus wearing a red tunic and blue robes. Holding the cross with both hands, he rests it on his left shoulder. His head is slightly raised and his watery eyes [+]
Vicente Carducho is a paradigmatic figure in Spanish painting from the early decades of the seventeenth century, a period of transition from the Tuscan-Roman mannerism to so-called early naturalism. I [+]
The Birth of the Virgin at the Museo del Prado, the only painting on this subject by the hand of Luis de Morales and a work that remained unpublished until 2003, and the two pieces at the Museum Schlo [+]
The work reproduces a prototype by Sebastiano del Piombo that had to have some success in the 16th century, as witnessed by another version very close to this one kept in the Galleria Borghese in Rome [+]
This is one of Morales’s most characteristic and best-known paintings, both because of its technical quality, its domestic format and its apparently tender and heartwarming subject, and also because i [+]
This work is an example of an exceptional iconography within the subject matter habitually dedicated to the Passion by the painter, and even within that of the European art of his time as a whole. Alt [+]
Large-format versions of the Virgin holding the dead body of Christ, like those at Badajoz Cathedral and at the Real Academia de Bellas Artes de San Fernando, gave way in Morales’s oeuvre to smaller c [+]
The Virgin Mary, turned slightly to the right, has her hands clasped in an imploring attitude, her gaze absent and her eyes flooded with tears. She wears a bluish-green robe, a violet tunic and a whit [+]
