Loading...
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 f [+]
Jerome meditates before a crucifix in the solitude of his retreat. The numerous objects depicted around him refer to different aspects of his life. The books, papers and writing equipment allude to hi [+]
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 [+]
The colours of the Virgin’s tunic and cloak, her loose hair, hands crossed on her breast, her devoted gaze raised to heaven and the presence of the moon are elements of the imagery of the Immaculate C [+]
Toward the end of the 17th century, Saint Francis’s iconography expanded as many of the classical biographic themes were replaced with more complex episodes -especially trance visions- mystical ecstas [+]
On August 29, 1626, King Philip IV’s painter, Vicente Carducho (ca. 1576-1638), signed a contract for the creation of a cycle of paintings to celebrate the founding of the Carthusian Order by Saint Br [+]
Stylistically, this work appears to have been made in the early 1630s -soon after the artist returned from Italy- and most authors date it from around 1632. The Apollonian perfection of the anatomy an [+]
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 [+]
Taken together, these three works clearly convey a Eucharistic meaning. They depict Christ holding up the chalice and the Host, flanked by two Old Testament figures: King Melchizedek, bearing bread an [+]
The format and the dimensions of this picture and the high horizon line allow for rendition of a large landscape, which displays what are generally regarded as the defining characteristics of Patinir` [+]
The Virgin is crowned in the heavens by God the Father, Christ and the Holy Spirit, depicted in the form of a dove with its wings outstretched. Around them are grouped thirty-three saints of a type ch [+]
This direct, frontal depiction of Christ wearing the crown of thorns, his hands tied and holding a reed sceptre, was one of Juanes’s most succesful compositions. The meticulous rendering is reminiscen [+]
This is one of Ribalta’s most beautiful compositions within his late output. The figure of Christ is adapted from the model devised by Sebastiano del Piombo in his Lamentation over the Dead Christ (Sa [+]
All parts of this extraordinarily meticulous work are related to each other from a formal and iconographic standpoint. The Virgin appears in the foreground, where she occupies a considerable portion o [+]
Representación del santo que dirige su mirada al crucifijo, mientras que distintos elementos iconográficos como la calavera y la trompeta aluden al final de los tiempos. [+]
[+]
The figure of Christ is depicted following the tradition of seventeenth-century Spanish religious painting, although the classical concept of beauty disseminated in Spain by Mengs and Bayeu is also ev [+]
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 [+]
