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Taken together, these three works clearly convey a Eucharistic meaning. They depict Christ holding up the chalice and the Host (P00844), flanked by two Old Testament figures: King Melchizedek, bearing bread and wine (P00853), and the priest Aaron with a jar of incense (P00854). The three panels were part of the tabernacle of the high altar in the church of the Birth of the Virgin in Fuente de la H
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
Indebted to the Bruges tradition, the priest holding Saint Gregory’s tiara stems from Jan van Eyck’s Portrait of a Man with Carnation in Berlin and the composition accentuates the sfumato and the grace of Gerard David (c. 1460-1523). However, the architectures and the dynamic poses of the figures also echo Antwerp mannerism.
This work could be defined as a descriptive landscape combined with a genre scene of everyday life. Small figures inhabit a canvas that presents the buildings at El Campillo—a rest and recreation spot for monks and royalty—in the foreground, where it stands out against a light-colored sky with the Sierra de Guadarrama mountains in the distance.El Campillo, now a private estate along the road linki
Series of Apostles became very popular during the Counter-reformation; they were usually half-length figures against a neutral background, holding their iconographical attributes. One of the most important series is the one that Ribera painted around 1630. It is mentioned for the first time in the Royal Collection towards the end of the eighteenth century and is made up of paintings of varying qua
Margaret, who married Philip III in 1599, was the daughter of the Archduke of Bavaria. In this portrait by Pantoja de la Cruz -the most representative painter of the reign- she wears the so-called “Rich jewel”, a dynastic heirloom comprising the diamond known as “El estanque” (The Pool) and the famous large pearl known as “La peregrina” (The Pilgrim).
Floris was the most important history painter in Antwerp in the second half of the sixteenth century, only painting portraits on a few occasions. The sitters -Portrait of a Gentleman Aged 48 (P1516) and Portrait of a Lady Aged 35 (P1517)- have not been identified. The man wears a ring bearing the coat of arms of the city of Amsterdam, suggesting that the couple may be a Dutch merchant and his wife
Giuseppe Bonito was a student of Francesco Solimena (1657-1747) and a follower of his artistic idiom. This can be seen in the decidedly Baroque appearance of his early mythological and religious works, which later led to an amiable, colourist Rococo style. Bonito specialised in genre paintings and portraits, and the present canvas is a fine example of his skills. It is especially attractive as a h
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.
Lucifer was one of God´s favorite angels. He was expulsed from Heaven when he rebelled against His power. To represent the subject, Esquivel chose the moment when, with a stern expression, Saint Michael separates him from Celestial Glory. The subject is comparable to Saint Michael´s fight with the dragon of sin, which was frequently depicted by innumerable artists. Nevertheless, Esquivel eschews t
This canvas, which the Venetian artist Parrasio sent to Philip II without a prior commission in order to gain the monarch’s favour, celebrates the birth of the heir to the Spanish throne in a mythological-allegorical mode. The Infante Fernando, son of Felipe II, appears as a boy, surrounded by seven ladies —embodiments of the theological and cardinal Virtues. His mother, Ana de Austria, lies on a
A group of people surround a standing man who gesticulates, appearing to tell a story. Alenza painted numerous small-format scenes of customs depicting the least-advantaged social classes. As in this work, they reveal the influence of Goya, and of works in the Prado by David Teniers (1610 - 1690).
Perteneciente al retablo mayor de la iglesia del colegio de Agustinos Calzados de Madrigal junto con La Adoración de los Pastores (P2471), Aparición de santa Leocadia a san Ildefonso (P5412) y la Imposición de la casulla a san Ildefonso (P5424). Registrado por Ceán (1800): MADRIGAL / COLEGIO DE AGUSTINOS CALZADOS / Seis quadros en el altar mayor con figuras del tamaño del natural, firmados en 1603
While meditating on which of the two to focus his devotions, Christ on the cross and the Virgin appeared to Saint Augustine. Christ offered him the blood from the wound in his side, while Mary rewarded him with her milk. This canvas was originally in the Sevillian monastery of San Agustín. The upper part with angels was added in the eighteenth century.
Practically unknown until now, the present canvas has only been mentioned and reproduced in an article by Matías Díaz Padrón, former curator at the Prado, that was published in Archivo Español de Arte in 1980. The author, who had not seen the painting at first hand, attributed it to Pieter Brueghel the Younger.The canvas depicts the Saint Martin`s Day wine festival. The
Within the large series of paintings dedicated to the history of Rome, this work and Meleager’s Hunt (P2320) belong to a small group of scenes from mythology and the history of Antiquity. This is undoubtedly the most mysterious group in the series -so much so, that the subject matter of some of its paintings has yet to be identified today. Moreover, neither the significance of this group as a whol
Although for this first version Jacopo borrowed elements from early works such as the young man peeking his head round the column, which appears in the 1536 La fornace ardente (Bassano del Grappa, Museo Civico), he drew mainly from Stefano Cernotto´s Expulsion of the Merchants from the Temple (Venice, Accademia, deposited at the Ceni Foundation). Cernotto, an artist of Dalmatian origin who worked
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