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Jerónimo Vich y Valterra (1459-1535) was Spain’s ambassador to Rome between 1506 and 1521, under the reigns of Ferdinand the Catholic and Charles V. Vich commissioned Sebastiano del Piombo to p [+]
A group of sorrowful figures is illuminated by the rays of divine light which pierce the darkness that fell with the death of Christ, shown lying in his mother’s lap and anointed by Mary Magdalene. Th [+]
Supported by an angel and accompanied by a youthful angel holding the crown of thorns, the dead Christ lies on the orb of the world before God the Father and the dove of the Holy Spirit. The expressiv [+]
Lorenzo Lotto`s various depictions of the penitent Saint Jerome span early versions influenced by Albrecht Dürer and Giovanni Bellini (Musée du Louvre, Paris, 1506) and by young Raphael (M [+]
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 lit [+]
Esta pintura ha sido relacionada con Durero (1471-1528) y con Lucas de Leiden (1494-1533). Supone un sobresaliente ejercicio de estilo que manifiesta su atenta observación de originales alemanes del s [+]
Christ rests, lifeless, on his own shroud. He is held by his Mother, who looks imploringly to the heavens. Mary Magdalene kisses his hand while Saint John contemplates the scene from behind. The Crown [+]
Documents at Palencia Cathedral cast light on this Crucifixion’s original location -the central row of the main altarpiece at that cathedral- and its author: Juan de Flandes (doc. 1496-1519). They als [+]
Goya expresses the greater importance of this composition through the larger size of the figures, compared to its companion work, Tobias and the Angel (P07856). The wood shavings on the floor indicate [+]
Shortly after his arrival in Spain in 1753, Giaquinto embarked on a series of eight canvases on scenes from the Passion for the King’s Oratory in the Buen Retiro Palace in Madrid. The series also incl [+]
Cano lived in Madrid on two different occasions. The first (1638-1651), during which he was able to study the Royal Collection, absolutely transformed his concept of color and brushstrokes. Contact wi [+]
Piombo was the Italian painter most in demand by Spanish clients during the first half of the sixteenth century. Fernando de Silva, Count of Cifuentes and ambassador to Rome from 1533 to 1536, commiss [+]
Dentro de los encargos realizados por Correa para el antiguo monasterio de padres bernardos de San Martín de Valdeiglesias, se halla un grupo de tres tablas con escenas relativas al ciclo de la pasión [+]
Renaissance painting abounds with representations of Christ bearing the cross on the road to Calvary, either as an isolated figure, or with an executioner assailing him, or accompanied by soldiers, cu [+]
The theme of this triptych is the advent of salvation -a message about the universality of Redemption. The Eucharistic meaning inherent in the theme of Saint Gregory’s Mass is also found in The Adorat [+]
The painting is based on an iconographic model created by the painter’s father, Dirk Bouts, but interpreted with greater intensity and realism due to the influence of Hugo van der Goes. The image was [+]
Saint Paul fell from his horse as he heard Christ’s words “Why persecutest thou me?” which brought about his conversion. Murillo’s interpretation is notably dynamic, making use of the contrast between [+]
Ecce Homo and The Virgin Dolorosa (P977) are comparable with regard to size, provenance and their partial dependence on models by Titian. Above all, they are linked by their subject matter and are mos [+]
