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The Birth of the Virgin
Oil on panel. Ca. 1528
Benson, Ambrosius
The Birth of the Virgin
Oil on panel. Ca. 1528
Benson, Ambrosius

The Descent from the Cross
Oil on panel. 1547
Machuca, Pedro
The Descent from the Cross
Oil on panel. 1547
Machuca, Pedro

Christ´s body is taken from the cross by Joseph of Arimathea and Nicodemus. On the ground, Mary Magdalene extends her arms to him while the Virgin weeps sorrowfully. The depiction of these customary figures is rounded out by the presence of a soldier with renaissance armor and two children, one with a handkerchief tied around his head. These realistic details give Machuca´s scene a special charact

The High Priest Aaron
Oil on panel. 1545 - 1550
Juanes, Juan de (Vicente Juan Masip)
The High Priest Aaron
Oil on panel. 1545 - 1550
Juanes, Juan de (Vicente Juan Masip)

Taken together, these three works clearly convey a Eucharistic meaning. They depict Christ holding up the chalice and the Host (P00844), flanked by two Old Testament figures: King Melchizedek, bearing bread and wine (P00853), and the priest Aaron with a jar of incense (P00854). The three panels were part of the tabernacle of the high altar in the church of the Birth of the Virgin in Fuente de la H

Landscape with a Carthusian (Saint Bruno?)
Oil on canvas. 1636 - 1638
Swanevelt, Herman Van
Landscape with a Carthusian (Saint Bruno?)
Oil on canvas. 1636 - 1638
Swanevelt, Herman Van

The painting entered the Museum holdings as an original work by Jan Both. In 1959 Blunt identifies it as the landscape listed in the 1701 inventory of the Palace of the Buen Retiro and maintains the attribution to Both, as does Roethlisberger (1961). However, Waddingham (1960) ascribes it to Herman van Swanevelt, an attribution backed by Luna (1984) and officially adopted by the Museum in 1985. Th

The Adoration of the Shepherds
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
The Adoration of the Shepherds
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista

On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight months to make the paintings, which had to portray the scenes and episodes specified by the prior of the monastery. Despite the agreement reached in the contract, the paintings were not completed until De

The Presentation of Jesus in the Temple
Oil on canvas. Ca. 1670
Rizi, Francisco
The Presentation of Jesus in the Temple
Oil on canvas. Ca. 1670
Rizi, Francisco

These two canvases (The Adoration of the Magi, P1129 and The Presentation of Jesus in the Temple, P1130) were part of a small altar piece in the convent of Los Angéles in Madrid, a work that also included The Annunciation (P1128). The present canvases are typical of the mature style of this artist, who made masterly use of a range of warm colours applied with an extremely free brushstroke i

Saint Peter
Oil on panel. 1536 - 1538
Juanes, Juan de (Vicente Juan Masip)
Saint Peter
Oil on panel. 1536 - 1538
Juanes, Juan de (Vicente Juan Masip)

This work´s existence and interest were noticed by Valencian specialist and director of that city´s Museum of Fine Arts, Fernando Benito Domenech. That museum´s Juan de Juanes exhibition in 2000 included this panel and convincingly related it to the Saint Eligius Altarpiece, which the Valencian Silversmiths´ Guild had commissioned for the church of Santa Catalina in 1534. That contract called for

Saint John the Evangelist in Patmos
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
Saint John the Evangelist in Patmos
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista

On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight months to make the paintings, which had to portray the scenes and episodes specified by the prior of the monastery. Despite the agreement reached in the contract, the paintings were not completed until De

Saint Stephen led to his Martyrdom
Oil on panel. 1555 - 1562
Juanes, Juan de (Vicente Juan Masip)
Saint Stephen led to his Martyrdom
Oil on panel. 1555 - 1562
Juanes, Juan de (Vicente Juan Masip)

A depiction of the New Testament story (Acts 7, 58) Saint Stephen was condemned to stoning after angering the priests of the Sanhedrin assembly. This scene represents the moment when he is taken out of the city and led to martyrdom, by the executioners at the doors of Jerusalem, just as Christ was, on Calvary. Juanes differs from his father´s style I by accenting the ugliness of the executioners,

Nativity
Oil on canvas. Ca. 1610
Cajés, Eugenio
Nativity
Oil on canvas. Ca. 1610
Cajés, Eugenio

Eugenio was the son of Tuscan painter Patricio Cajés, who came to Spain to work for Philip II at the monastery of El Escorial. His mother, Casilda de la Fuente, was Spanish. He began studying painting with his father and later moved to Rome (1595-1599), where he discovered two new trends in painting that would largely define the course of art in the 17th century: Caravaggio’s chiaroscuro an

Saint John the Baptist
Oil on panel. Ca. 1566
Morales, Luis de
Saint John the Baptist
Oil on panel. Ca. 1566
Morales, Luis de

It is not known when or how these two paintings -Saint John the Baptist and Saint Juan de Ribera (P947)- came to be the property of Luisa Enríquez, but their common provenance has never been seen as an indication of a link with the same group of art works. However, the technical study that was recently carried out on the two panels shows that they are directly and unequivocally related in t

Martyrdom of Saint Peter Martyr
Oil on canvas. Ca. 1650
Espinosa, Jerónimo Jacinto
Martyrdom of Saint Peter Martyr
Oil on canvas. Ca. 1650
Espinosa, Jerónimo Jacinto

Este lienzo es una de las obras más significativas de Espinosa en un período especialmente afortunado de su producción, con una notable influencia de Pedro Orrente, tanto en la gama tostada de su colorido como en el modo de tratar las telas e incluso en los tipos humanos, de proporciones un tanto rechonchas y rudos. La obra procede de un retablo de la iglesia valenciana de San Nicolás, donde lo de

The Pentecost
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
The Pentecost
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista

On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight months to make the paintings, which had to portray the scenes and episodes specified by the prior of the monastery. Despite the agreement reached in the contract, the paintings were not completed until De

Predella with the Resurrection of Christ
Mixed method on panel. 1475 - 1485
Ximénez, Miguel
Predella with the Resurrection of Christ
Mixed method on panel. 1475 - 1485
Ximénez, Miguel

The painting, which comes from the church of Santa María in Ejea de los Caballeros (Zaragoza), is made up of five panels. The central panel represents the Resurrection. On either side of it are scenes dedicated to Saint Michael (The Shooting of the Bull on Mount Gargano and The Apparition of Saint Michael to Saint Gregory in Castel Sant’Angelo), and to Saint Catherine (Debate with the Philo

Mary Magdalene
Oil on canvas. 1616
Tristán, Luis
Mary Magdalene
Oil on canvas. 1616
Tristán, Luis

This delicate female figure has been identified as Mary Magdalene before Christ on the cross. The work formed part of the altar piece of the parish church of Yepes (Toledo), together with Saint Monica (P-2836), whose wrinkled face contrasts with the soft, rounded features of the Magdalene, who is painted with long brushstrokes and softer transitions between light and shade.

The Apostle James
Mixed method on panel. Ca. 1500
Master Of The Visitation Of Palencia
The Apostle James
Mixed method on panel. Ca. 1500
Master Of The Visitation Of Palencia

This panel is by an anonymous Hispano-Flemish painter active in Burgos and Palencia who was influenced by Diego de la Cruz and the Master of Los Balbases. His name derives from his best known work, the Altarpiece of the Visitation in Palencia Cathedral. The apostle can be identified by the inscription on his halo and his attributes: the pilgrim’s staff, water gourd, hat and cockle shells. In his l

The Martyrdom of Saint Stephen
Oil on panel. 1555 - 1562
Juanes, Juan de (Vicente Juan Masip)
The Martyrdom of Saint Stephen
Oil on panel. 1555 - 1562
Juanes, Juan de (Vicente Juan Masip)

This painting forms part of the Altarpiece of San Esteban (Valencia), along with other scenes from the saint´s life (P00838, P00839, P00841 and P00842), as well as the Last Supper (P00846). According to the Acts of the Apostles, Saint Stephen was condemned to stoning after angering the priests of the Sanhedrin assembly. While he commends his soul to God, the executioners angrily stone Stephen, who

Saint Francis supported by an Angel
Oil on canvas. Ca. 1607
Gentileschi, Orazio
Saint Francis supported by an Angel
Oil on canvas. Ca. 1607
Gentileschi, Orazio

The subject of the angelic consolation of Saint Francis became popular in the second half of the sixteenth century as a result of the Catholic Church´s renewed appreciation of his mystical experiences, almost to the exclusion of the more picturesque episodes of the saint´s life that had characterised traditional iconography; for example, his encounter with the wolf of Gubbio, and the invention of

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