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Portrait of a Gentleman
Oil on canvas. 1618 - 1623
Maíno, Fray Juan Bautista
Portrait of a Gentleman
Oil on canvas. 1618 - 1623
Maíno, Fray Juan Bautista

Nothing is known of this middle-aged gentleman with his black doublet and cloak, against which the wide, segmented ruff or gola and the delicate white cuff at his right wrist stand out. At his waist are a belt and a sword belt, both very plain, though essential accessories of aristocratic dress in Spain in the Golden Age. The sitter is depicted three-quarter length and lit from the side with a lig

The Annunciation
Oil on panel. 1570 - 1572
el Greco (Domenikos Theotokopoulos)
The Annunciation
Oil on panel. 1570 - 1572
el Greco (Domenikos Theotokopoulos)

In keeping with iconographic tradition, the Virgin turns in surprise at the arrival of the Archangel Gabriel and the Holy Ghost. This work is very close, compositionally and stylistically, to the Annunciation of the Modena Triptych, but it is not known whether it is a sketch for that work, or an autograph reduction. Probably painted in Venice just before 1570, this piece seems to be inspired by th

The Death of Hercules
Oil on canvas. 1634
Zurbarán, Francisco de
The Death of Hercules
Oil on canvas. 1634
Zurbarán, Francisco de

This episode, which illustrates Hercules’s death, was narrated in great detail by Baltasar de Victoria, who tells how the hero killed Nessus the centaur for having attempted to rape Hercules’s bride, Deianira. After the wedding, when it came time to cross the Evinos River that runs through Aetolia, it could not be forded as the water was quite deep. Nessus the Centaur happed to be there and offere

Saint Peter freed by an Angel
Oil on canvas. 1630 - 1640
Marullo, Giuseppe
Saint Peter freed by an Angel
Oil on canvas. 1630 - 1640
Marullo, Giuseppe

El interés de esta obra singular estriba, sobre todo, en la personalidad de su autor, figura poco conocida de la pintura napolitana del siglo XVII, cuya producción, muy ligada a la de su maestro Máximo Stanzione, está todavía en gran parte por identificar.Este lienzo, firmado don precisión, ofrece un excelente ejemplo de su maestría al interpretar un motivo de tono estrictamente caravaggiesco. La

The Annunciation
Oil on canvas. 1637
Pereda y Salgado, Antonio de
The Annunciation
Oil on canvas. 1637
Pereda y Salgado, Antonio de

Pointing with its left hand to God the Father, the Archangel Gabriel appears to Mary to tell her that she will conceive a child. The Dove of the Holy Spirit descends in a ray of light above the Virgin. Pereda’s painting combines the detailed description and rich chromatism characteristic of his style.

Saint Bernard and the Virgin
Oil on canvas. 1645 - 1652
Cano, Alonso
Saint Bernard and the Virgin
Oil on canvas. 1645 - 1652
Cano, Alonso

This scene from the life of Saint Bernard (twelfth century), depicts the moment when the saint received a stream of milk from a statue of the Virgin and Child, on the altar. A Cardinal watches the miracle with his hands joined in prayer. This work combines a monumental sense of forms with a very delicate treatment of color, which are the characteristics Cano´s painting acquired after he got to kno

The Annunciation
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)
The Annunciation
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)

A passage from the New Testament (Luke I, 26-38) that tells of the annunciation of the Virgin´s motherhood by the Archangel Gabriel and the incarnation of Christ in Mary by the Holy Ghost in the form of a dove. The burning bush, which appeared to A passage from the New Testament (Luke I, 26-38) that tells of the annunciation of the Virgin´s motherhood by the Archangel Gabriel and the incarnation o

Saint Bartholomew
Oil on canvas. 1641
Ribera, Jusepe de, lo Spagnoletto
Saint Bartholomew
Oil on canvas. 1641
Ribera, Jusepe de, lo Spagnoletto

The saint in this painting can be identified by the knife in his right hand - the tool with which he was skinned. The work is part of a set of four hermits, although it is unusual to see this saint represented in a penitent manner, in a landscape, devoting himself to meditation and contemplation. The painting is among a group of eight full-length single-figure composition of saints by Ribera that

Queen María Cristina and her Daughter, Isabel II, reviewing the Artillery Batteries defending Madrid in 1837
Oil on canvas. 1865 - 1866
Fortuny, Mariano
Queen María Cristina and her Daughter, Isabel II, reviewing the Artillery Batteries defending Madrid in 1837
Oil on canvas. 1865 - 1866
Fortuny, Mariano

This canvas was displayed on the ceiling of the Salon Rouge of the Duke and Duchess of Riánsares’ Paris mansion. The decoration of this hall, which was designed to receive visitors, glorified María Cristina’s regency and the legitimacy of her daughter Isabella II, which was opposed by the supporters of Carlos María Isidro de Borbón, rival aspirant to the throne. The wor

The Allocution of Marquis del Vasto to his Troops
Oil on canvas. 1540 - 1541
Titian (Tiziano Vecellio)
The Allocution of Marquis del Vasto to his Troops
Oil on canvas. 1540 - 1541
Titian (Tiziano Vecellio)

Alfonso d´Avalos, first Marchese del Vasto, was born in Ischia on 25 May 1502 to a noble Neapolitan family of Castilian origins. He fought in Pavia (1525) under the orders of his uncle Fernando d´Avalos, Marchese di Pescara, inheriting his titles and estates on his uncle´s death that same year. In 1535 D´Avalos commanded the army that conquered Tunis and in 1538, he was appointed governor of Milan

Triptych with Episodes from the Life of Christ
Grisaille, Oil on oak panel. Ca. 1440
Master Of The Collins Hours
Triptych with Episodes from the Life of Christ
Grisaille, Oil on oak panel. Ca. 1440
Master Of The Collins Hours

The Triptych in the Museo del Prado labeled as Scenes from the Life of Christ is a pivotal work in the story of Valencian painting in the fifteenth century and in the transmission of the style and technique of Jan van Eyck to the Iberian Peninsula. The panel entered the Prado collection in 1931 from the convent of the Encarnación in Valencia, a Carmelite foundation established in 1502. It w

The Descent from the Cross
Oil on panel. Ca. 1545
Correa de Vivar, Juan
The Descent from the Cross
Oil on panel. Ca. 1545
Correa de Vivar, Juan

This New Testament scene depicts the Descent from the Cross of Christ´s body (Matthew 28, 57-61; Mark 15, 42-47; Luke 23, 50-55; John 19, 38-42). Joseph of Arimathea, Nicodemus and Saint John the Evangelist remove the nails and take down the Holy Body, while Mary Magdalene laments at his feet and the Virgin is consoled by other holy women. This is considered one of Correa´s finest works. The balan

The Annuncation
Oil on panel. Ca. 1565
Morales, Luis de
The Annuncation
Oil on panel. Ca. 1565
Morales, Luis de

In a single sequence, the painting shows the Archangel Gabriel’s greeting to Mary, his announce ment to her that she has been designated as the mother of the son of God, and her acceptance of the divine will (Luke, 1, 26-38). St Gabriel appears on the viewer’s left, kneeling before the Virgin. He is covered in a white tunic constructed with a rich array of solidly drawn folds interspersed with a s

The Painter Eduardo Rosales
Oil on canvas. 1867
Madrazo y Kuntz, Federico de
The Painter Eduardo Rosales
Oil on canvas. 1867
Madrazo y Kuntz, Federico de

According to the inscription on the right, this is a portrait of the painter and friend of Madrazo, Eduardo Rosales. The detailed rendering of the face in profile stands out against the neutral green background. The very loose brushstrokes are applied with large gestures, bringing out the highlights on the forehead, nose and ear and drawing especial attention to the red button of the Legion of Hon

The Annunciation
Oil on oak panel. 1420 - 1425
Campin, Robert
The Annunciation
Oil on oak panel. 1420 - 1425
Campin, Robert

The event is set in a gothic temple, alluding to the New Law that replaces the old one, represented by the Romanesque tower in the background. The sculptures on the outside of the church and on the tower and Bible passages in the stained-glass windows reinforce this idea, and that of the Redemption. That is the case of Moses and David, or the sacrifice of Isaac´s, which foreshadows that of Christ.

The Annunciation, Saint Jerome and Saint John the Baptist
Oil on panel. XVI century
Maestro de la Santa Sangre
The Annunciation, Saint Jerome and Saint John the Baptist
Oil on panel. XVI century
Maestro de la Santa Sangre

The Infant Saint John the Baptist
Oil on canvas. Early XVIII century
Palomino y Velasco, Acisclo Antonio
The Infant Saint John the Baptist
Oil on canvas. Early XVIII century
Palomino y Velasco, Acisclo Antonio

Las representaciones de San Juan Bautista como niño tienen su origen en el Renacimiento italiano, pero los pintores de ese momento emparejaron generalmente su figura infantil con la del Niño Jesús, dentro de composiciones en las que casi siempre aparecía también la Virgen y se ponía de relieve una tierna relación entre los dos infantes. Andando el tiempo, los artistas comenzaron a dar un tratamien

Javier of Bourbon and Saxony, Infante of Spain
Oil on canvas. 1767
Mengs, Anton Raphael
Javier of Bourbon and Saxony, Infante of Spain
Oil on canvas. 1767
Mengs, Anton Raphael

Francisco Javier (1757-1771), youngest son of Charles III and Maria Amalia of Saxony, was painted by Mengs in the Palace of San Ildefonso, Segovia, as were his brothers, Antonio and Gabriel. The pose and expression are particularly natural and the traditional accessories of royal portraiture are reduced to the column, curtain and insignias of the Orders of the Golden Fleece, Santiago and San Genna

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