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Mary is depicted over half-length, standing with her child in her arms, beside an arch with gothic tracery and landscape in the background. The Christ Child plays with the coral beads of a rosary his [+]
Christ rests, lifeless, on his own shroud. He is held by his Mother, who looks imploringly to the heavens. Mary Magdalene kisses his hand while Saint John contemplates the scene from behind. The Crown [+]
Espinosa was the leading painter working in Valencia in the mid-seventeenth century. He deployed a naturalistic style characterised by precise description and a selective use of light. Most of his wor [+]
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 judgement of an individual soul is a subject rooted in popular religious theater. The oldest known depictions date from the 15th century and show an angel and a devil arguing over the possession o [+]
An outstanding work in Francesco Furini’s oeuvre and one of the most sensual and morbid of all Italian Baroque paintings, Lot and his daughters, c.1634, depicts the Old Testament story of Lot (Genesis [+]
Wearing a red tunic, blue robes and a crown of stars, the Virgin treads on a serpent carrying the apple of Sin, in keeping with the customary iconography for this Catholic image. By placing Mary over [+]
Peter Paul Rubens, the Flemish Baroque artist, was also a humanist scholar, art collector, and diplomat. In 1628, Rubens went to Madrid to meet with Philip IV, King of Spain (1621-1665), as part of hi [+]
In her hand, Mary holds a pear, one of the fruits of Paradise, which presents her as the new Eve. The Christ Child sits on her knees and plays with its opposite, a rosary that alludes to the Passion. [+]
In 1836, the English critic John Ruskin lavished praise on Bartolomé Esteban Murillo’s technique and identified the uniqueness of his approach: It is true that his Virgins are never such goddes [+]
All parts of this extraordinarily meticulous work are related to each other from a formal and iconographic standpoint. The Virgin appears in the foreground, where she occupies a considerable portion o [+]
Dibujo en el que se representa a la Virgen del Rosario lujosamente vestida, con rostrillo y corona, lleva el Niño sobre el brazo izquierdo y con la derecha sostiene un rosario y unas flores.En la mism [+]
El Santo aparece arrodillado sobre una grada; parece adoptar el gesto de asir con su mano derecha el Rosario que le ofrece la Virgen, cuya silueta aparece sólo apuntada en el lado izquierdo de la comp [+]
The composition, which I have been unable so far to identify, may have been taken from a print. The inventor of the design was evidently either Venetian or Veronese. [+]
La Virgen coronada de estrellas y en pie, alarga un rosario con la mano derecha a unos ángeles que le ofrecen un canastillo de flores y con la mano izquierda sostiene al Niño Jesús, que en pie sobre u [+]
El motivo central de este dibujo –la Virgen con el Niño de pie- guarda una estrecha relación con la composición pintada que realizó Cano de La Virgen del Rosario de la Catedral de Málaga, finalizada e [+]
Es una litografía de Augusto Guglielmi (activo en Madrid entre 1829 y 1837) que reproduce un lienzo de Bernard van Orley (P01932) cuya autoría era desconocida en el siglo XIX tal y como figura en la e [+]
Es una litografía de Augusto Guglielmi (activo en Madrid entre 1829 y 1837) que reproduce un lienzo de Bernard van Orley (P01932) cuya autoría era desconocida en el siglo XIX tal y como figura en la e [+]
