Loading...
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 [+]
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 [+]
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 [+]
In this painting, following His crucifixion and descent from the Cross, the body of Christ lies upon a white cloth. On His left is a beam of the cross bearing the sign that identifies Him as King of t [+]
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 [+]
The principal beams are decorated with secular scenes, including dances, jousts or men fighting monsters, and with the coats-of-arms of Castile and León and those of the Luna and Rojas families [+]
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 [+]
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 [+]
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 [+]
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 [+]
A man stands before a dark background, portrayed more than half-length with his torso bare and his hair and beard white from age. With his left hand he holds a cross and with his right he holds a hook [+]
The scene depicts a group of naked young women being surprised by a male who violently thrusts aside the reeds behind which they are concealed, while some cupids retreat in fear. The work illustrates [+]
Saint Anthony, whom the artist has been able to place in the immediate foreground of this panel by using a landscape format, closely resembles the saint depicted in the Saint Anthony triptych in Lisbo [+]
