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Saint Mena extends his arms and raises his gaze to Heaven, refusing to worship the graven idol presented to him at the left of the composition. As a result, he was martyred and decapitated. His suffer [+]
The Evangelist, identified by the chalice he holds in his hand, protects four female donors dressed in plain devotional habits. In the background, Coecke provides a vision of Hell that reflects the st [+]
This work was first recorded in 1641 as a work by Titian belonging to the Duke of Medina de las Torres in Naples. It was, however, attributed to Giorgione for centuries until Wilhelm Schmidt again att [+]
This painting is a copy of the lower part of El Greco’s celebrated original on display in the church of Santo Tomé, Toledo. A work of considerable quality, it reveals an interesting variety of [+]
This night scene is set in a narrow, irregular space -a sort of grotto with a gabled opening in the back, consisting of two semi-circular arches. Mary holds her newborn Son, naked on her lap, while Sa [+]
The Virgin sits with the Christ Child in the midst of grandiose classical architecture. She is surrounded by numerous saints in various positions. Above her, some angels prepare to crown her as Queen [+]
The painting represents a sea battle between a Dutch ship displaying the coat of arms of the city of Amsterdam on the prow and an English vessel flying the standard with the Cross of St George. The co [+]
The Apostle protects a group of male donors wearing the habit of the Dominican Order. In the background, angels bear souls to Heaven. Characteristically, Coecke conveys the movement of clothes and hai [+]
The artist, a disciple of Federico de Madrazo and a renowned painter of small works on historical subjects, presents his studio in Paris. He portrays himself in the room at the back, painting a charac [+]
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Painted shortly before he permanently settled in Madrid, this self-portrait shows Simonet engaged in painting. Visible in the background is the portrait of his father. The figure of the artist and the [+]
This fragment of an altarpiece was attributed to the Hispano-Flemish painter Martín de Soria and more recently to Jaume Huguet. However, the evident Aragonese influence has led to an attributio [+]
This work is a variation on the painting executed by Jacopo towards 1580 for the main altar of the church of the Capuchins in Bassano del Grappa (Museo Civico, inv. 18), a large work (237 x 155 cm) wi [+]
The principal beams are decorated with secular scenes, including dances, jousts or men fighting monsters, and with the coats-of-arms of Castile and León and those of the Luna and Rojas families [+]
This portrait of the wife of the banker Henry O’Shea reveals the British influence on Madrazo’s fully romantic period. Her social position is indicated by the quality of the fabrics, laces and jewels, [+]
The painter, linked to the Mendoza family, patrons of this work, was familiar with Netherlandish painting as shown in the Annunciation, similar to Van der Weyden. The kneeling donor is thought to be t [+]
The similarity of this painting to the work of the Segovian painter, the Maestro del Parral, author of the Saint Jerome in the Museo Lázaro Galdiano (Madrid), and its relation to the work of Jo [+]
Corrado Giaquinto had frequent contacts with Spain as of 1735 or earlier. But the death of Jacopo Amigoni in 1752 led to his being summoned to Madrid the next year. During his stay in the Spanish Cour [+]
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