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Triptych of the Redemption: The Crucifixion
Oil on panel. Ca. 1450
Master Of The Prado Redemption
Triptych of the Redemption: The Crucifixion
Oil on panel. Ca. 1450
Master Of The Prado Redemption

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. The triptych belonged to Leonor de Mascarenhas (1503-1584), a Portuguese lady who moved to Spain in 1526 and was aya to Philip II and afterwards to his son Don Carlos. When in 1564 she founded the convent of Franciscan nuns

Triptych of the Adoration of the Magi
Oil on panel. 1470 - 1472
Memling, Hans
Triptych of the Adoration of the Magi
Oil on panel. 1470 - 1472
Memling, Hans

Comprising three panels, the Nativity, the Adoration of the Magi and the Presentation in the Temple, this painting is earlier than the triptych on the same subject painted by Memling for Jan Floreins in 1479. It is clearly influenced by Van der Weyden, as are other works by the artist. In this work, the unified space represented in the Nativity and the Adoration of the Magi is noteworthy. It was a

The Birth of the Virgin. The Annunciation. The Adoration of the Shepherds
Oil on panel. Before 1550
Coxcie, Michiel
The Birth of the Virgin. The Annunciation. The Adoration of the Shepherds
Oil on panel. Before 1550
Coxcie, Michiel

This triptych was made for the cathedral of Saints Michael and Gudule in Brussels and later sold "to Spain for a very high price" according to Carel van Mander (1604). Philip II donated it to El Escorial in 1586. A fine Romanist, Coxcie remained faithful to what he had learned in Italy: the old lady reading in The Nativity is a copy of the Persian Sybil that Michelangelo painted in the dome of the

Rest on the Flight into Egypt
Oil on panel. 1518 - 1520
Patinir, Joachim
Rest on the Flight into Egypt
Oil on panel. 1518 - 1520
Patinir, Joachim

The Virgin and Child are placed on a hill in the centre of the foreground, isolated from the rest of the figures, as in the Berlin panel (Gemäldegalerie ). The dark forest here begins in the middle ground behind the Virgin, merging with the background landscape to one side of the main figure. The countryside to the right, with the motifs of the farm, the village in the middle ground and the c

The Holy Family with a Musician Angel, Saints Catherine and Barbara
Oil on panel. 1510 - 1520
Master Of Frankfurt (Workshop Of)
The Holy Family with a Musician Angel, Saints Catherine and Barbara
Oil on panel. 1510 - 1520
Master Of Frankfurt (Workshop Of)

Con la adquisición en 2008 de la tabla Sagrada Familia con ángel músico (P08009), el Museo del Prado completa el tríptico del Maestro de Francfort, que perteneció al convento dominico de Santa Cruz de Segovia, del que ya poseía las dos tablas laterales (P01941 y P01942). Cuando Ponz visitó este convento en la década de 1770, sus tres tablas aún no se habían separado. En mayo de 1836, cuando Castel

Saint John the Baptist and the Franciscan Heinrich von Werl
Oil on oak panel. 1438
Campin, Robert
Saint John the Baptist and the Franciscan Heinrich von Werl
Oil on oak panel. 1438
Campin, Robert

An inscription in gothic letters identifies the sitter and dates the work: "In the year 1438, I painted this effigy of Master Heinrich von Werl, Doctor of Cologne". A Provincial of the Franciscan Order in that German city beginning in 1432, Werl was full Professor of Theology and quite a famous preacher. On a trip to Tournai, he was able to contact the painter and have himself portrayed inside a r

Triptych of the Redemption: The Expulsion of Adam and Eve from Paradise
Oil on panel. Ca. 1450
Master Of The Prado Redemption
Triptych of the Redemption: The Expulsion of Adam and Eve from Paradise
Oil on panel. Ca. 1450
Master Of The Prado Redemption

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 shows the Expulsion from the Garden of Eden, the Crucifixion and the Last Judgment. The left panel shows the Expulsion from Paradise with various scenes alluding to the Creation in the arch´s orders.

The Mystic Marriage of Saint Catherine, with Saint Ursula and a Donor
Oil on panel. Ca. 1520
Anonymous
The Mystic Marriage of Saint Catherine, with Saint Ursula and a Donor
Oil on panel. Ca. 1520
Anonymous

This composition retains the structure of traditional triptychs, but the landscape links the three panels together to form a single scene, thus including the pilgrim-donor and Saint Ursula in the Mystic Marriage. The landscape includes scenes relating to the respective figures: walking pilgrims, the martyrdom of Saint Catherine, the Massacre of the Innocents and the Flight into Egypt.

Saint John the Baptist
Oil on panel. Ca. 1566
Morales, Luis de
Saint John the Baptist
Oil on panel. Ca. 1566
Morales, Luis de

It is not known when or how these two paintings -Saint John the Baptist and Saint Juan de Ribera (P947)- came to be the property of Luisa Enríquez, but their common provenance has never been seen as an indication of a link with the same group of art works. However, the technical study that was recently carried out on the two panels shows that they are directly and unequivocally related in t

The Holy Family with a Musician Angel, Saints Catherine and Barbara
Oil on panel. 1510 - 1520
Master Of Frankfurt (Workshop Of)
The Holy Family with a Musician Angel, Saints Catherine and Barbara
Oil on panel. 1510 - 1520
Master Of Frankfurt (Workshop Of)

This triptych makes use of a traditional compositional scheme and iconography, with the principal scene in the central panel. However, the volumetric treatment of the figures reflects new Italian influences. This innovatory approach is also evident in the architectural background to the Holy Family, in which the habitual Gothic tracery is replaced by elements characteristic of of the new Mannerist

Triptych of the Redemption: Last Judgement
Oil on panel. Ca. 1450
Master Of The Prado Redemption
Triptych of the Redemption: Last Judgement
Oil on panel. Ca. 1450
Master Of The Prado Redemption

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 shows the Expulsion from the Garden of Eden, the Crucifixion and the Last Judgment. The front and back of the lateral panels were separated at a recent date and the two scenes can now be seen simultan

Triptych of the Redemption: Tribute to Caesar
Grisaille, Oil on panel. Ca. 1450
Master Of The Prado Redemption
Triptych of the Redemption: Tribute to Caesar
Grisaille, Oil on panel. Ca. 1450
Master Of The Prado Redemption

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 shows the Expulsion from the Garden of Eden, the Crucifixion and the Last Judgment. The scenes were located beneath Gothic canopies in which various sculptural groups completed the redemptive message,

The Haywain Triptych
Oil on panel. 1512 - 1515
Bosch, Hieronymus
The Haywain Triptych
Oil on panel. 1512 - 1515
Bosch, Hieronymus

Bosch thus shows how man, irrespective of his social class or place of origin, is so possessed by the desire to enjoy and acquire material possessions that he allows himself to be deceived or seduced by the Devil. Thus the artist proposes that we should renounce earthly goods and the delights of the senses in order to avoid eternal damnation. The painting offers an exemplum of a different type to

The Holy Family with a Lamb
Oil on panel. 1507
Raphael (Raffaello Sanzio)
The Holy Family with a Lamb
Oil on panel. 1507
Raphael (Raffaello Sanzio)

In 1504, after training with Perugino, Raphael moved from Perugia to Florence, where he remained for four years to absorb the work of Leonardo and Michelangelo. His gradual mastery of classicism is visible in a series of Madonne that constitute a delicate series of variations on the subject of motherly love. One of these is the Holy Family of the Lamb, which is based on a preparatory drawing by Le

Ecce Homo
Oil on panel. 1520 - 1525
Maestro de la Santa Sangre
Ecce Homo
Oil on panel. 1520 - 1525
Maestro de la Santa Sangre

Trained in Antwerp and influenced by Quintin Massys, as this panel reveals, the anonymous Master of the Holy Blood had an active workshop in Bruges. In contrast to Massys’ painting of this subject in the Museo del Prado, Christ and Herod are presented frontally. They are also on a larger scale, and less importance is placed on the architecture. However, the caricatural depiction of the torturers i

The Guardian Angel, Saint Ursula and Saint Thomas
Oil on canvas. Ca. 1615
Cecco del Caravaggio (Francesco Buoneri)
The Guardian Angel, Saint Ursula and Saint Thomas
Oil on canvas. Ca. 1615
Cecco del Caravaggio (Francesco Buoneri)

This painting was first attributed to Cecco del Caravaggio by Joan Ainaud de Lasarte in 1947. At that time, very little was known about this painter, who was later identified as Francesco Buoneri, an artist working in Rome during the second decade of the seventeenth century who had previously been the most outstanding follower of Caravaggio. His relationship with the latter may also have been more

The Betrothal of the Virgin / Cristo Patiens
Oil on panel. 1470 - 1500
Master Of The Legend Of Saint Catherine
The Betrothal of the Virgin / Cristo Patiens
Oil on panel. 1470 - 1500
Master Of The Legend Of Saint Catherine

La pintura, presenta al obispo oficiante en el centro de la composición, entre San José y la Virgen, con las manos unidas y de cada lado, sus parientes y amigos. A la izquierda, en primer término, el donante arrodillado, vestido de negro. La escena tiene lugar en el interior de un templo que abre a un paisaje urbano, del que puede verse la fachada de un edificio con estrechos ventanales.El reverso

The Adoration of the Magi
Oil on panel. Ca. 1530
Coecke Van Aelst, Pieter
The Adoration of the Magi
Oil on panel. Ca. 1530
Coecke Van Aelst, Pieter

Van Aelst maintains the traditional triptych structure but updates it by representing a single scene, thus achieving the compositional unity promoted by Italian Renaissance art. The iconography and composition adhere to fifteenth-century models but the triangular arrangement of the elements, the volumetric figures and the subtle modelling of the faces and of the Christ Child’s body, as well as the

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