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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

Archimedes
Oil on canvas. Ca. 1630
Ribera, Jusepe de, lo Spagnoletto
Archimedes
Oil on canvas. Ca. 1630
Ribera, Jusepe de, lo Spagnoletto

The figure’s rough clothing, the activity in which he is engaged and his books indicate an intellectual from the classical world. His identity has been debated. Previously thought to be Aesop or Aristotle, the existence of a similar composition inscribed “Archimedes” suggests that he is the 3rd- century BC Greek mathematician.

Saint John the Evangelist
Oil on canvas. 1771
Bayeu, Francisco
Saint John the Evangelist
Oil on canvas. 1771
Bayeu, Francisco

Sketches for the pendentives of the dome of the collegiate church at La Granja (Segovia). With this decoration Bayeu continued the project begun by Giambattista Tiepolo, who died in 1770, imbuing the compositions with the harmony, solidity and clarity he learnt while training under Mengs. Three of the evangelists are shown writing, inspired by angels, while Saint Luke, patron of painters, holds an

Saint Jerome
Oil on canvas. 1643
Pereda y Salgado, Antonio de
Saint Jerome
Oil on canvas. 1643
Pereda y Salgado, Antonio de

Saint Jerome is depicted meditating on the Last Judgment, as indicated by the print in the book, which reproduces a model by Albrecht Dürer. He is surrounded by various vanitas, such as the skull resting on some books and the stone with which he struck his chest. A pen and inkwell indicate his dedication to writing. Jerome was one of the most popular Saints in baroque Spain. His iconography m

James Bourdieu
Oil on canvas. 1765 - 1766
Reynolds, Sir Joshua
James Bourdieu
Oil on canvas. 1765 - 1766
Reynolds, Sir Joshua

According to Reynolds’ notes, the sitter posed for him in October 1765 and the portrait was completed in January 1766. No biographical details are known of Bourdieu, who is depicted seated with his legs crossed in a relaxed pose, looking at the viewer as if he has raised his eyes from the letter that he holds.

Saint Mark the Evangelist
Oil on canvas. Ca. 1875
Sans Cabot, Francisco
Saint Mark the Evangelist
Oil on canvas. Ca. 1875
Sans Cabot, Francisco

Saint Dominic of Guzmán
Oil on panel. 1612 - 1614
Maíno, Fray Juan Bautista
Saint Dominic of Guzmán
Oil on panel. 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 Penintent Saint Jerome
Oil on canvas. Ca. 1650
Murillo, Bartolomé Esteban
The Penintent Saint Jerome
Oil on canvas. Ca. 1650
Murillo, Bartolomé Esteban

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 his celebrated intellectual activities, the skull to his acts of penitence, and the red hat to his status as a cardinal.

Saint Mark
Oil on canvas. 1771
Bayeu, Francisco
Saint Mark
Oil on canvas. 1771
Bayeu, Francisco

Sketches for the pendentives of the dome of the collegiate church at La Granja (Segovia). With this decoration Bayeu continued the project begun by Giambattista Tiepolo, who died in 1770, imbuing the compositions with the harmony, solidity and clarity he learnt while training under Mengs. Three of the evangelists are shown writing, inspired by angels, while Saint Luke, patron of painters, holds an

Cardinal Juan Everardo Nithard
Oil on canvas. 1674
Arco, Alonso del
Cardinal Juan Everardo Nithard
Oil on canvas. 1674
Arco, Alonso del

Born to an Austrian Catholic family, Juan Everardo Nithard (Falkenstein, 1607-Rome, 1681)became a Jesuit. His solid grounding in theology led Emperor Ferdinand III to appoint him confessor to his children, Leopold and Mariana, and when the latter married Philip IV, he accompanied her to Madrid in the same role. Widowed, Mariana became reagent for her son, Charles, until he came of age, and during

Saint Matthew and Saint John the Evangelist
Oil on canvas. Ca. 1625
Ribalta, Juan
Saint Matthew and Saint John the Evangelist
Oil on canvas. Ca. 1625
Ribalta, Juan

In this painting, two men wearing tunics kneel next to a rocky crag, past which, in the distance, a stormy landscape opens up. The elder of the two men bends over a sheaf of papers on which he writes, using the surface of a rock as a desk. The other man points his right index finger to a page, while his other hand and his feverish gaze are directed heavenward. The younger of the two is the evangel

Urban II Deliberates with Saint Bruno
Oil on canvas. 1626 - 1632
Carducho, Vicente
Urban II Deliberates with Saint Bruno
Oil on canvas. 1626 - 1632
Carducho, Vicente

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 Bruno and its leading members. This colossal undertaking sought to visually narrate numerous episodes from the Carthusians’ history and tradition. It was the most complete commission ever dedicated to t

Magistrate with Crucifix
Oil on canvas. Ca. 1600
Bassano, Leandro
Magistrate with Crucifix
Oil on canvas. Ca. 1600
Bassano, Leandro

In 1648 Carlo Ridolfi began his biography of Leandro Bassano by praising his talent as a portraitist (particolarmente eccellente ne`ritratti). This skill was generously acknowledged during his lifetime and led him to be ennobled in 1595 for his Portrait of Doge Marino Griman (Dresden, Gemäldegalerie). Initially close to the style of Jacopo Tintoretto, Leandro developed under the influence of

The Coronation of the Virgin
Oil on panel. After 1521
Macip, Vicente
The Coronation of the Virgin
Oil on panel. After 1521
Macip, Vicente

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 characteristic of Masip, all witnessing this glorious event. The small format, meticulous execution and use of gold for some details make this panel an exceptional work. It was acquired by King Ferdinan

The penitent Saint Jerome
Oil on canvas. 1650 - 1652
Murillo, Bartolomé Esteban
The penitent Saint Jerome
Oil on canvas. 1650 - 1652
Murillo, Bartolomé Esteban

Saint Matthew
Oil on canvas. 1771
Bayeu, Francisco
Saint Matthew
Oil on canvas. 1771
Bayeu, Francisco

Sketches for the pendentives of the dome of the collegiate church at La Granja (Segovia). With this decoration Bayeu continued the project begun by Giambattista Tiepolo, who died in 1770, imbuing the compositions with the harmony, solidity and clarity he learnt while training under Mengs. Three of the evangelists are shown writing, inspired by angels, whileSaint Luke, patron of painters, holds an

Saint John the Evangelist
Oil on canvas. 1618 - 1624
Ribalta, Juan
Saint John the Evangelist
Oil on canvas. 1618 - 1624
Ribalta, Juan

Juan Ribalta was a highly talented and precocious artist who trained with his father, Francisco Ribalta, the most important painter of his day in Valencia. Juan’s work differs from that of his father primarily in his use of pronounced, short brushstrokes. In this monumental depiction of Saint John the Evangelist the saint seems to be seeking inspiration as he pauses while writing his sacred text.

Allegory of the Arts and Sciences
Oil on canvas. 1649
Raeth, Ignace
Allegory of the Arts and Sciences
Oil on canvas. 1649
Raeth, Ignace

The visual arts are represented by a palette filled with brushes and an ancient head; music, by a score; literature by an inkwell and several books; and geography by a globe. This work´s character as a Vanitas is emphasized by the laurel-crowned skull at the left, an unmistakable symbol of death´s triumph and of the vanity of human achievements. The work´s symbolic content seems clear: the futilit

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