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Saint James the Elder is depicted as a pilgrim, with his customary crozier or staff, although here it lacks the customary calabash for water. He wears a cape and a hat with the scallop shell that symbolizes the pilgrimage to Compostela, just as the Greek cross and palm did for pilgrims to Jerusalem and the double key and Speedwell for those headed to Rome. While the origin of the scallop shell rem
This is one of a series of twelve panels (P01646, P01647, P01648, P01649, P01650, P01651, P01652, P01653, P01654, P01655, P01656, P01657) that make up an apostolate that originally included a Savior of the World. The disciples of Christ are represented in the style the painter used around 1612-1613. These are large figures of forceful appearance and considerable plasticity, contrasting with the da
This is one of a series of twelve panels (P01646, P01647, P01648, P01649, P01650, P01651, P01652, P01653, P01654, P01655, P01656, P01657) that make up an apostolate that originally included a Savior of the World. The disciples of Christ are represented in the style the painter used around 1612-1613. These are large figures of forceful appearance and considerable plasticity, contrasting with the da
Saint Onuphrius, a hermit saint of the fourth century AD, retired to the Egyptian desert in search of solitude. As with other works for the decoration of the Buen Retiro Palace in Madrid, this landscape was created by two artists: Claude himself, who painted the landscape, and a second, unknown artist who painted the hermit.
This is one of a series of twelve panels (P01646, P01647, P01648, P01649, P01650, P01651, P01652, P01653, P01654, P01655, P01656, P01657) that make up an apostolate that originally included a Savior of the World. The disciples of Christ are represented in the style the painter used around 1612-1613. These are large figures of forceful appearance and considerable plasticity, contrasting with the da
This work illustrates the final passage of Christ´s childhood (Luke 2, 41-50) when, at the age of 12, he was taken to Jerusalem by his parents to celebrate Passover. Mary and Joseph lost their son, and later found him in the Temple, arguing with the doctors. Christ´s theological superiority is emphasized by his placement towards the top of the composition´s axis. The doctors look on as he enumerat
This is one of a series of twelve panels (P01646, P01647, P01648, P01649, P01650, P01651, P01652, P01653, P01654, P01655, P01656, P01657) that make up an apostolate that originally included a Savior of the World. The disciples of Christ are represented in the style the painter used around 1612-1613. These are large figures of forceful appearance and considerable plasticity, contrasting with the da
This must have been the central panel of an altarpiece dedicated to Saint Anthony Abbot. He is shown with his attribute of a pig. The flames at his feet allude to the illness known as "Saint Anthony´s fire". Reixach is a key figure in hipano-flemish painting in Valencia in the middle decades of the fifteenth century. He ran a large workshop.
This panel is by an anonymous Hispano-Flemish painter active in Burgos and Palencia who was influenced by Diego de la Cruz and the Master of Los Balbases. His name derives from his best known work, the Altarpiece of the Visitation in Palencia Cathedral. The apostle can be identified by the inscription on his halo and his attributes: the pilgrim’s staff, water gourd, hat and cockle shells. In his l
This is one of a series of twelve panels (P01646, P01647, P01648, P01649, P01650, P01651, P01652, P01653, P01654, P01655, P01656, P01657) that make up an apostolate that originally included a Savior of the World. The disciples of Christ are represented in the style the painter used around 1612-1613. These are large figures of forceful appearance and considerable plasticity, contrasting with the da
This is one of a series of twelve panels (P01646, P01647, P01648, P01649, P01650, P01651, P01652, P01653, P01654, P01655, P01656, P01657) that make up an apostolate that originally included a Savior of the World. The disciples of Christ are represented in the style the painter used around 1612-1613. These are large figures of forceful appearance and considerable plasticity, contrasting with the da
This is one of a series of twelve panels (P01646, P01647, P01648, P01649, P01650, P01651, P01652, P01653, P01654, P01655, P01656, P01657) that make up an apostolate that originally included a Savior of the World. The disciples of Christ are represented in the style the painter used around 1612-1613. These are large figures of forceful appearance and considerable plasticity, contrasting with the da
Hidden by a cloud, Christ ascends to heaven, watched by Mary and the apostles, amongst whom James is placed in a prominent position. He appears with a staff and a pilgrim’s hat. The upper part of Christ’s body is concealed, in order to focus attention on his footprints at the summit of the Mount of Olives. This and three other panels by Juan de Flandes (P02935, P02936, P02938) belonged to the main
This is one of a series of twelve panels (P01646, P01647, P01648, P01649, P01650, P01651, P01652, P01653, P01654, P01655, P01656, P01657) that make up an apostolate that originally included a Savior of the World. The disciples of Christ are represented in the style the painter used around 1612-1613. These are large figures of forceful appearance and considerable plasticity, contrasting with the da
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 attributes enthroned on a monumental cathedra in grisaille, adorned with lively marginalia. Kneeling at his feet, the figure of the donor may evoke a desire to go on a pilgrimage to Compostela or simply de
This work was, until recently, believed to depict Saint James. This was largely due to its description, by Friar Francisco de los Santos in his Descripción breve del Monasterio de S. Lorenzo el Real del Escorial (1657). However, Friar Francisco de los Santos also noted that the apostle is not represented according to customary iconography, for he is depicted in the manner he would have dres
The Apostle James can be identified by the pilgrim’s staff in his right hand and the cockle shell on his breast. Standing firmly before a dark background, his face and powerful body indicate the lessons that Murillo and fellow Spanish painters absorbed from the work of Ribera.
This is one of a series of twelve panels (P01646, P01647, P01648, P01649, P01650, P01651, P01652, P01653, P01654, P01655, P01656, P01657) that make up an apostolate that originally included a Savior of the World. The disciples of Christ are represented in the style the painter used around 1612-1613. These are large figures of forceful appearance and considerable plasticity, contrasting with the da
