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The Eucharistic Christ
Oil on panel. 1520 - 1530
Yáñez de la Almedina, Fernando
The Eucharistic Christ
Oil on panel. 1520 - 1530
Yáñez de la Almedina, Fernando

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 reference that enjoyed a lengthy tradition in Spanish and particularly Valencian art. The emphasis on anatomical definition, subtle colour and a unifying light are characteristic of the artist at this period

Allegory of Temperance
Oil on panel. 1513 - 1516
Berruguete, Alonso
Allegory of Temperance
Oil on panel. 1513 - 1516
Berruguete, Alonso

This painting is among the few known works from Berruguete’s formative years in Florence and Rome, the latter depicted in the background. The bridle bit, the hand on the breast and the laurel wreath allude to the subjugation of the instincts by reason and temperament.

Last Moments of Ferdinand IV the Summoned (sketch)
Oil on panel. 1860
Casado del Alisal, José
Last Moments of Ferdinand IV the Summoned (sketch)
Oil on panel. 1860
Casado del Alisal, José

This is the first rough sketch prior to the definitive preparatory piece (now at the Diputación de Palencia) of the picture held by the Museo del Prado (P5728). It shows the king Ferdinand IV of Castile on his deathbed, where he is confronted by the apparition of the brothers Juan and Pedro de Carvajal, unjustly executed by order of the monarch one month earlier, and said to have summoned h

The Crucifixion with Saints and Donors
Oil on panel. Ca. 1475
Goes, Hugo Van Der (Circle Of)
The Crucifixion with Saints and Donors
Oil on panel. Ca. 1475
Goes, Hugo Van Der (Circle Of)

This panel depicts the Crucifixion with Christ on the cross, the Virgin Mary and Saint John. Flanking them are Saints Jerome, James the Apostle, Mary Magdalene and Catherine, accompanied by the donor’s extensive family. The background landscape includes a view of Jerusalem, shown as a Flemish city of the artist’s period. The anonymous painter reveals a detailed knowledge of the works produced in G

Saint Jerome
Oil on panel. XVI century
Anonymous
Saint Jerome
Oil on panel. XVI century
Anonymous

Vase of Flowers
Oil on panel. Early Último tercio del siglo XVIII - XIX century
Espinós, Benito
Vase of Flowers
Oil on panel. Early Último tercio del siglo XVIII - XIX century
Espinós, Benito

Landscape
Oil on panel. First half of the XVIII century
Bonay, Francisco
Landscape
Oil on panel. First half of the XVIII century
Bonay, Francisco

Still Life
Oil on panel. XVII century
Coosemans, Alexander
Still Life
Oil on panel. XVII century
Coosemans, Alexander

Lady with a Yellow Flower
Oil on panel. Ca. 1567
Cronenburch, Adriaen Van
Lady with a Yellow Flower
Oil on panel. Ca. 1567
Cronenburch, Adriaen Van

These four portraits of women, two double ones and two single ones (P02074, P02075 and P02076) presented standing and down to kneelevel, use the same architectural setting. The series is given visual unity by the use of a central niche and two more, barely visible ones at the sides, separated by masonry pillars and decorated with small lions’ heads in the centre.This use of shared elements is prob

The Rape of Europe
Oil on panel. 1636 - 1637
Rubens, Peter Paul
The Rape of Europe
Oil on panel. 1636 - 1637
Rubens, Peter Paul

Europe turns a last glance at her companions, who are located outside the composition, as Jupiter carries her away. The god was profoundly enamored of her and transformed into a bull in order to approach her. This story from Ovid´s Metamorphoses is depicted by Rubens in a very succinct manner in this preparatory sketch for a painting Erasmus Quellinus made for the Torre de la Parada.

Jesus carrying the Cross
Oil on canvas. Ca. 1516
Piombo, Sebastiano del
Jesus carrying the Cross
Oil on canvas. Ca. 1516
Piombo, Sebastiano del

Jerónimo Vich y Valterra (1459-1535) was Spain’s ambassador to Rome between 1506 and 1521, under the reigns of Ferdinand the Catholic and Charles V. Vich commissioned Sebastiano del Piombo to paint a triptych whose central panel with the Lamentation over the Body of Christ is now at the Hermitage Museum in Saint Petersburg. One of its sides bears Christ’s Descent into Limbo and is also at t

The Embrace at the Golden Gate
Oil on panel. Ca. 1528
Benson, Ambrosius
The Embrace at the Golden Gate
Oil on panel. Ca. 1528
Benson, Ambrosius

Saint James the Pilgrim
Oil on panel. 1496 - 1497
Flandes, Juan de
Saint James the Pilgrim
Oil on panel. 1496 - 1497
Flandes, Juan de

Saint James the Elder is depicted as a pilgrim, with his customary crozier or staff, although here it lacks the customary calabash for water. He wears a cape and a hat with the scallop shell that symbolizes the pilgrimage to Compostela, just as the Greek cross and palm did for pilgrims to Jerusalem and the double key and Speedwell for those headed to Rome. While the origin of the scallop shell rem

The Virgin and Child with Saint Anne
Oil on panel. 1515 - 1517
Brescianino, Raffaello del (?); Leonardo Da Vinci (Copy After); Brescianino, Andrea del
The Virgin and Child with Saint Anne
Oil on panel. 1515 - 1517
Brescianino, Raffaello del (?); Leonardo Da Vinci (Copy After); Brescianino, Andrea del

Leonardo made three cartoons (full-scale drawings) with different ideas for the composition of his Saint Anne. This work is one of the few preserved testimonies to the second, produced by the master before his departure for Milan in 1508 and very close to the definitive version, although the scene is inverted. Another version of this picture was lost during the Second World War.

Still Life with a silver beaker and a clock
Oil on panel. 1633
Heda, Willem Claesz
Still Life with a silver beaker and a clock
Oil on panel. 1633
Heda, Willem Claesz

In addition to the Roemer goblet, other glasses common in this kind of monochrome still life presented here include the Berkemeyer, in this case tipped over and broken, and the delicate Façon-de-Venise wineglass, in fashion at the time and likewise made in the Netherlands. Also featured is an exquisitely decorated silver goblet. Alongside them is a knife with a sheath and an open clock that

The Garden of Earthly Delights Triptych
Grisaille, Oil on oak panel. 1490 - 1500
Bosch, Hieronymus
The Garden of Earthly Delights Triptych
Grisaille, Oil on oak panel. 1490 - 1500
Bosch, Hieronymus

The Garden of Earthly Delights is Bosch’s most complex and enigmatic creation. For Falkenburg the overall theme of The Garden of Earthly Delights is the fate of humanity, as in The Haywain (P02052), although Bosch visualizes this concept very differently and in a much more explicit manner in the centre panel of that triptych than in The Garden of Earthly Delights. In order to analyse the work’s me

Saint James the Less
Oil on panel. 1610 - 1612
Rubens, Peter Paul
Saint James the Less
Oil on panel. 1610 - 1612
Rubens, Peter Paul

This is one of a series of twelve panels (P01646, P01647, P01648, P01649, P01650, P01651, P01652, P01653, P01654, P01655, P01656, P01657) that make up an apostolate that originally included a Savior of the World. The disciples of Christ are represented in the style the painter used around 1612-1613. These are large figures of forceful appearance and considerable plasticity, contrasting with the da

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

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