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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 [+]
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 [+]
San Juan Bautista aparece de medio cuerpo junto al Agnus Dei y portando en su mano izquierda el hitón, ambos como atributos de este personaje. Se trata de una obra característica de este artista, tant [+]
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 [+]
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 [+]
Formerly attributed to Lambert Sustris, this panel is now given to the German painter Schwarz. Both these northern European artists worked in Venice in Titian’s studio (Schwarz between 1570 and 1573), [+]
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 [+]
The composition derives from a lost work by Leonardo repeated by Yáñez on two other occasions with some variants. Here he includes a chalice and a consecrated Host, a Eucharistic referen [+]
Cuadro de la serie con escenas de la vida de san Benito que adornaban el claustro del monasterio de San Martín. Felipe de Castro (ca. 1750/1764) se limitó a señalar que "las pinturas del claustro son [+]
This work has recently been added to the donation made by Plácido Arango. It has been convincingly attributed to Francisco de Herrera the Younger due to the similarities between some of its det [+]
