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Documents at Palencia Cathedral cast light on this Crucifixion’s original location -the central row of the main altarpiece at that cathedral- and its author: Juan de Flandes (doc. 1496-1519). They als [+]
This painter is one of the most outstanding and singular representatives of the early Renaissance in Palencia. While there are no extant documents to prove it, this work must somehow be connected with [+]
This wedding portrait by Vicente López depicts Ferdinand VII’s fourth and final wife, his niece Maria Cristina. All three of his previous spouses, María Antonia of Bourbon (1784-1806), M [+]
This canvas, painted by an anonymous artist, shows the upper body of a knight who persistently stares at the viewer, placed against a neutral background. It may be at the sitter´s request that the lig [+]
This is a set of two scenes (P02842, P02841) referring to one of the first known stories of Saint Eloy, a French saint from the late sixth and early seventh century and a great goldsmith who served ki [+]
In 1604 in his biography of Mor, Karel van Mander referred to the artist’s trip to London in 1554, where he was sent on the orders of Charles V to paint Mary Tudor (1516–1558), and to the success of t [+]
The image of the titular saint seated on a richly decorated Gothic throne was the central effigy of many Spanish late mediaeval altarpieces. Here we see a hieratic Saint James with his pilgrim’s attri [+]
This is a set of two scenes (P02842, P02841) referring to one of the first known stories of Saint Eloy, a French saint from the late sixth and early seventh century and a great goldsmith who served ki [+]
This young aristocrat, portrayed in three-quarter length, stands posed before the viewer wearing a magnificent black satin and velvet dress trimmed with lace and ribbons, a close-fitting bodice and a [+]
This work entered the Museo del Prado in 1916 titled Penitent Magdalene, along with almost ninety other Italian, French, Flemish and Spanish works from the fifteenth to eighteenth centuries, nearly al [+]
The Infanta, Felipe II´s daughter, is portrayed with a distant and elegant gesture, in three-quarters, which was in keeping with a type of portraiture widely used among court painters at that time. Sh [+]
Es una litografía de Augusto Giuglielmi que reproduce el lienzo de Parmigianino y su taller (P00280). La atribución de la pintura original a Bronzino que aparece en la firma de la estampa, es errónea. [+]
Es una litografía de Augusto Giuglielmi que reproduce el lienzo de Parmigianino y su taller (P00280). La atribución de la pintura original a Bronzino que aparece en la firma de la estampa, es errónea. [+]
Es una litografía de Augusto Giuglielmi que reproduce el lienzo de Parmigianino y su taller (P00280). La atribución de la pintura original a Bronzino que aparece en la firma de la estampa, es errónea. [+]
Es una litografía de Augusto Giuglielmi que reproduce el lienzo de Parmigianino y su taller (P00280). La atribución de la pintura original a Bronzino que aparece en la firma de la estampa, es errónea. [+]
Es una litografía de Augusto Giuglielmi que reproduce el lienzo de Parmigianino y su taller (P00280). La atribución de la pintura original a Bronzino que aparece en la firma de la estampa, es errónea. [+]
The vessel, similar to O44, is formed by three fragments of agate and five enamelled gold mounts. The body is an ancient piece of stone with a broad gold mount on the edge decorated with an enamelled [+]
Vessel similar to O38, except that the cover is missing. The precious stones on the jasper ring are complete, and the remaining cameos consist of a Roman-style bust of a crowned man and a woman’s head [+]
