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This triptych is the principal creation and the work that has given the name to an anonymous follower of Rogier van der Weyden, previously identified as Vrancke van der Stockt. The triptych belonged t [+]
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 [+]
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 [+]
Located against a background landscape resembling those of Joachim Patinir (c. 1480-1524), Saint Jerome kneels in prayer before a crucifix and skull. In this case he is not depicted inside a cave or b [+]
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 [+]
The Virgin Mary stands on the Moon, surrounded by clouds in an image that varies from the predominant approach to representations of the Immaculate Conception in Seville. Most such works emphasize dyn [+]
Paolo Veronese`s Penitent Magdalene, 1583, reflects the change occurring in Venetian religious painting around 1580. On one hand, the new order of priorities imposed by the Council of Trent (1545-63) [+]
Esta obra formaba parte del retablo de doña Francisca de León en la iglesia del convento sevillano del Santo Ángel, junto con P01022, P01023 y P01023, que el pintor contrató en 1605. Ingresaron en el [+]
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 [+]
The Museo del Prado’s collections include an important group of paintings by Juan de Correa de Vivar, an artist based in Toledo who must have been born at the beginning of the 16th century in the town [+]
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 [+]
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 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 [+]
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 [+]
This is a large gothic altarpiece. Its central panel depicts the Virgin with Child, and behind them, four angels hold the brocade backdrop while four others play musical instruments. Saint Benedict an [+]
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 rewarde [+]
