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Tras la muerte de Felipe II la corte quedó sumida en el luto, y así se hizo retratar su hija Isabel Clara Eugenia en esta obra. Viste saya negra de la que asoman manguillas de raso blanco con bordaduras en oro. El tocado es más complejo, con flores -jazmines- y cintas rojas con perlas. Se reconocen algunas joyas como el famoso rubí, diamante y perla que heredó de Ana de Austria y que luce en su re
After denying that he was a follower of Christ, Saint Peter repented of his actions. This canvas deploys the chromatic restraint and compositional rigour of Velázquez’s early works, combined here with a freer and more relaxed although equally deft pictorial handling.
The seated model is sumptuously dressed, with silver-lamé collar and cuffs, a pearl choker and a very dark green dress with silver decorations on her skirt and gold ones on the bodice and sleeves. She has flowers in her hair and long earrings. The heavy crimson velvet curtain behind her is echoed by a matching mat on the buffet. The scene opens onto an urban background that recalls the city
This more-than-half-length portrait presents a boy dressed in black with a white shirt. He rests his left hand on his waist while holding his gloves in his right. A gold chain around his neck is matched by another at his waist that bears a sword with a gilded hilt. It has been suggested that this panel may represent François, Duke of Alençon (b. 1554, d. 1584), son of Henri II of Fra
This is a modest bottega product illustrating the passage on the birth of Christ (Luke 2: 8-20) which lends itself particularly well to a nocturnal setting. It is a replica, not of the Adoration of the Shepherds Jacopo executed in 1590 for San Giorgio Maggiore in Venice, as previously believed, but of the painting depicting the same theme housed at the Louvre (inv. 430), which is an entirely autog
If we compare this painting with the Animals Entering the Ark (P22), we find that the iconographic elements which identify the subject have been shifted to a middle plane -Noah thanking God for bringing the flood to an end by means of a burnt offering (Genesis 8: 20-22) and the appearance of the rainbow as a symbol of the covenant between God and man (Genesis, 9: I-17)- while the foreground depict
The principal beams are decorated with secular scenes, including dances, jousts or men fighting monsters, and with the coats-of-arms of Castile and León and those of the Luna and Rojas families. Other decoration includes sacred scenes (the Last Supper and the Last Judgement, for example). Between the transversal beams are panels with alternating castles and lions and elongated hexagonal pan
This portrait of Isabella I of Castile (1451-1504) is one of the earliest known depictions of the Catholic Queen, shown wearing a jewel she received from her father in a clear reference to dynastic continuity. The panel was painted in the Low Countries or possibly in Britain, where it is documented at a very early date. Given that Isabella never left Spain, it must have been painted from models or
A la derecha sentado sobre unas rocas y vestido de pastor, Paris, en su mano ofrece la manzana de oro a Venus, en pie, entre Juno, sentada de espaldas, y Minerva.El dibujo lleva una atribución a Graziani y otra a Novelli. Enlaza con el estilo de este último, pero una cierta debilidad en las líneas hacen pensar que pueda tratarse de una copia y no de un original del artista. (Texto extractado de Me
This is one of the few copies to survive showing the whole of Polidoro´s famous frieze with the Story of Niobe, painted below the windows of the first floor of the Palazzo Milesi, Via della Maschera d´Oro, Rome. The decoration of the façade of the Palazzo Milesi in 1526-27 is the last in Polidoro´s great sequence of palace façade decorations carried out in Rome in the first half of t
The composition of this drawing corresponds to the middle and lower sections of Tintoretto´s great canvas of The Worship of the Golden Calf, which hangs on the left-hand wall of the choir of the church of the Madonna dell´Orto, Venice (Pallucchini and Rossi, 1982, I, p. 182, cat. no. 236; II, p. 446, fig. 307). The upper part of the composition -which does not appear in this drawing- represents ab
Numerous portraits of Constantine of this type were produced to mark his victory over Maxentius at the Battle of the Milvian Bridge in 312 A. D. Coins of the period depict him as invictus (unconquerable) with a nimbus in the manner of the Sun, considered at that time to be the centre of the universe, like the Emperor.
A medallion portraying the young Charles of Bourbon (1716-1788), recently proclaimed King of Naples and Sicily, who would become King Charles III of Spain in 1759. Shown in profile with a large wig and dressed all’antica, his breastplate bears a head of Medusa, an allusion to the mythological heroes, and the golden fleece, the symbol of the Order of the same name.
Nactanebo (380-362 BC), first monarch of the XXX dynasty. The five royal names appear in the right column of the dorsal pillar. Horus name (Horus of the strong arm). The King of the Upper and the Lower Egypt (sic). Nebty, “two ladies” name (He who beautifies the two lands). Golden Horus name (He who does what the gods love). Throne name, praenomen, preceded by the title of King of Upper and Lower
The 10th Marchioness of Villafranca del Bierzo (1757-1795), who was also painted by Goya, was the first wife of the 16th Marquis of Astorga, an important art collector. The Marchioness has a curious hairstyle fashionable at this period and wears the sash of the Order of María Luisa, a privilege reserved for thirty women of the upper Spanish nobility. Her coat-of-arms appears on the back of
