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On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight mont [+]
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 [+]
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 se [+]
This painting and its dedication demonstrate the friendship between Raimundo de Madrazo and Bernardo Rico (1825-1894), a leading wood engraver and the brother of the painter Martín Rico. The co [+]
This portrait is a full-length likeness of Philip II’s third wife, Queen Isabel de Valois. She wears a black gown with pointed sleeves and a long train that is curled around her body and billows at th [+]
Two woodcutters with their axes are cutting the branches of a tree while a third, seen from behind, collects the wood. The format of this cartoon indicates that it was designed for an over-window and [+]
Three boys -two standing and one seated- are playing chito, a game in which metal disks known as tejos are thrown at a piece of carved wood (the chito) resting on the ground with a coin on top of it. [+]
In this half-length portrait, the lady is wearing a dark brown velvet overdress luxuriously ornamented with gold chain-stitched embroidery, slit sleeves, and a high collar open in front in the Flemish [+]
This painting was first recorded in 1746 in the Spanish royal collection, together with Still life with Flowers, Gilt Goblet, Almonds, Dried Fruits, Sweets, Biscuits, Wine and a Pewter Flagon (P1620). [+]
This panel originally had an arched top and included a more open landscape with less leafy trees. At an unknown date the work must have suffered damage that affected the pictorial surface, resulting i [+]
El Greco executed various versions of the Holy Face on the Veil of Veronica, an iconographic motif that became very popular at the end of the Middle Ages. According to the story that developed during [+]
A compendium of common motifs in Meléndez´s oeuvre is found in this painting, affording it a sense of proximity and trueness to life of great artistic and documentary value. Set out among [+]
The original composition was enlarged on the right side with a section of wood of around 10.5 cm, glued against the grain. During the restoration carried out in 1994 it was noted that the preparation [+]
Patinir shows St Jerome sitting inside the wooden shack that leans against the rocks in the foreground. As with the Landscape with the Martyrdom of St Catherine in Vienna (Kunsthistorisches Museum), t [+]
A group of local people dance to the sound of bagpipes and a hurdy-gurdy in honour of a bride, who presides at the table in the background, surrounded by what seem to be older relatives or guests. The [+]
The dimensions, format, theme, support and pictorial style of these three works -The Crucifixion (P8211), Lamentation over the Dead Christ (Museo de Salamanca, CE 106) and The Resurrection (P8212)- al [+]
Two banderoles, one above and the other below the central circle, contain Latin texts from Deuteronomy (32: 28-29 and 20), warning against the wages of sin. The upper banderole, between the tondos of [+]
Large-format versions of the Virgin holding the dead body of Christ, like those at Badajoz Cathedral and at the Real Academia de Bellas Artes de San Fernando, gave way in Morales’s oeuvre to smaller c [+]
