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Since the moment when it was decided that the present work is by Raphael but that the sitter is not Antonio Granvela, art historians have expended considerable efforts on identifying the sitter.The mo [+]
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 Br [+]
This triptych is the principal creation and the work that has given the name to an anonymous follower of Rogier van der Weyden, previously identified as Vrancke van der Stockt. When open the triptych [+]
This triptych is the principal creation and the work that has given the name to an anonymous follower of Rogier van der Weyden, previously identified as Vrancke van der Stockt. When open the triptych [+]
Stylistically, this work appears to have been made in the early 1630s -soon after the artist returned from Italy- and most authors date it from around 1632. The Apollonian perfection of the anatomy an [+]
This work is an excellent example of the way in which an interest in the art of Spain´s Golden Age combines in Mariano Fortuny´s paintings with the close study of subjects made from life. Nude Old Man [+]
In this image of Christ embracing the Cross, all of the elements converge to communicate suffering, sacrifice and resignation. In contrast to much visual iconography of the Passion, the Cross is repre [+]
The first documentation of Diego Velazquez´s Mars is from 1701-03, when it appeared in the inventory of paintings at the Torre de la Parada, the royal hunting pavilion on the outskirts of Madrid. The [+]
A poorly dressed blind man stands out against a dark background. With his hands, he touches a sculpted bust on a table that also bears a painting of a face. The work was signed by Jusepe de Ribera in [+]
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 tec [+]
This extraordinary historical painting -as appealing as it is disquieting- is one of the first and best examples of the fascination that Joanna of Castile (1479-1555) held for nineteenthcentury Spanis [+]
This canvas and its pendant (P7930) must have been part of a series of similar works painted between 1670 and 1680, as indicated by a third piece (Abelló Collection). Together, they bear witnes [+]
This canvas and its pendant (P7929) must have been part of a series of similar works painted between 1670 and 1680, as indicated by a third piece (Abelló Collection). Together, they bear witnes [+]
Although the style of drawing is characteristic of Bandinelli, the majestic pose indeed echoes figures by Michelangelo on the Sistine ceiling, which he painted in 1508-1512. While the noble head and c [+]
The sitter is depicted with a dense head of curly hair, a carefully trimmed beard, thin moustache, and a goatee beard between his mouth and chin. The young man’s elegant hairstyle imitates portraits o [+]
This sculpture reproduces a Greek original of around 410 BC by a follower of Polyclitus. There are numerous copies of that work, known as the "Dresden Youth type" in reference to the best and most com [+]
The boy is depicted as a victorious athlete, with a foliate wreath on his head. His right arm was originally bent, his hand touching the wreath. He has individualised features and a hairstyle typical [+]
The portrait is of a mature, high-class lady with a serene and somewhat tired expression. Like many portraits of its era, it imitates the hairstyles adopted in the imperial household, in this case of [+]
