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Self-portrait
Oil on panel. 1498
Dürer, Albrecht
Self-portrait
Oil on panel. 1498
Dürer, Albrecht

In the same year that he published the Apocalipsis cum figuris, Dürer painted himself as a gentleman, dressed in light toned clothes and looking his best. He wears an open black and white doublet with a striped cap in the same colours, an undershirt trimmed with gold and a silk cord of blue and white threads holding up a grey-brown cloak that falls over his right shoulder. Dürer has shea

Adam
Oil on panel. 1507
Dürer, Albrecht
Adam
Oil on panel. 1507
Dürer, Albrecht

Dürer made this panel and its companion, Eve (P02178) upon returning from his second trip to Italy in 1505. Both works constitute an effort to synthesize what he had learned there, in search of a balance between Italian and Germanic approaches that would permit the ideal perfection of the human body. Thus, the choice of a biblical subject here is mere pretext. Dürer´s knowledge of the cl

Eve
Oil on panel. 1507
Dürer, Albrecht
Eve
Oil on panel. 1507
Dürer, Albrecht

Like the painting of Adam (P02177), represented on a separate panel, Eve´s unstable posture, her rhythmical movements and her affected gestures are sometimes interpreted as a return to earlier models of Gothic art, instead of what they really are, a foretaste of Mannerism. The solidity of the two bodies, Eve´s slightly Gothic curves -the prototype of a Germanic Venus- and Adam´s fascinated express

Portrait of a Man
Oil on panel. 1521
Dürer, Albrecht
Portrait of a Man
Oil on panel. 1521
Dürer, Albrecht

This portrait is one of Dürer’s great creations. It offers a three-quarters view of an unidentified person who occupies most of the canvas. Dürer places him in front of a dark background that bears some touches of blue. The light enters from the left, bringing out the features of the face and hands and projecting the sitter’s shadow onto the background at the right, where the date and th

The Kiss of Judas
Oil on copperplate. After 1655
Giordano, Luca
The Kiss of Judas
Oil on copperplate. After 1655
Giordano, Luca

Esta pintura ha sido relacionada con Durero (1471-1528) y con Lucas de Leiden (1494-1533). Supone un sobresaliente ejercicio de estilo que manifiesta su atenta observación de originales alemanes del siglo XV, cuya técnica Giordano intentó imitar. En ella Giordano aplicó una pincelada minuciosa y precisa de trazos cortos que reproducen con rigurosa exactitud el aspecto de los objetos, la incidencia

Pilate washing his Hands
Oil on copperplate. After 1655
Giordano, Luca
Pilate washing his Hands
Oil on copperplate. After 1655
Giordano, Luca

Esta pintura ha sido relacionada con Durero (1471-1528) y con Lucas de Leiden (1494-1533). Supone un sobresaliente ejercicio de estilo que manifiesta su atenta observación de originales alemanes del siglo XV, cuya técnica Giordano intentó imitar. En ella Giordano aplicó una pincelada minuciosa y precisa de trazos cortos que reproducen con rigurosa exactitud el aspecto de los objetos, la incidencia

Adam and Eve
Oil on canvas. 1628 - 1629
Rubens, Peter Paul
Adam and Eve
Oil on canvas. 1628 - 1629
Rubens, Peter Paul

Eve accepts the forbidden fruit from the hands of the devil, who is half child and half serpent. Sitting on the roots of the tree of Good and Bad, Adam tries to stop her. This is a copy of a painting on the same subject that Titian made for Felipe II (P00429). Rubens saw it during his trip to Spain in 1628 and 1629. In keeping with his own concept of painting, he made significant changes with resp

Fortune
Oil on canvas. 1636 - 1638
Rubens, Peter Paul (And Workshop)
Fortune
Oil on canvas. 1636 - 1638
Rubens, Peter Paul (And Workshop)

In the autumn of 1636, Peter Paul Rubens was commissioned by agents of Philip IV to produce his largest series of painted canvases to decorate the recently completed hunting lodge at El Pardo, near Madrid -the Torre de la Parada. Documents reveal that he was already at work by December. His main assignment comprised some sixty mythological subjects and individual figures, chiefly drawn from Ovid´s

Saints Anthony Abbot and Paul the Hermit
Oil on canvas. Ca. 1634
Velázquez, Diego Rodríguez de Silva y
Saints Anthony Abbot and Paul the Hermit
Oil on canvas. Ca. 1634
Velázquez, Diego Rodríguez de Silva y

The subject is drawn from the narration in Jacobo de la Voragine`s 13th-century Golden Legend of Saint Anthony the Abbot`s voyage to the Egyptian desert to visit Saint Paul, the first Christian hermit (4th century). Saint Anthony, whom Velázquez presents dressed in the black-hooded, brown habit of the Hospitallers of Saint Anthony, appears five times in the painting. In the background, he a

The Coronation of the Virgin
Oil on canvas. 1635 - 1636
Velázquez, Diego Rodríguez de Silva y
The Coronation of the Virgin
Oil on canvas. 1635 - 1636
Velázquez, Diego Rodríguez de Silva y

Velázquez painted The Coronation of the Virgin for Queen Elizabeth of Bourbon`s new prayer chapel at Madrid`s Alcázar palace, where it was intended to complete the series of nine paintings by Alessandro Turchi on The Feasts of Our Lady that Cardinal Gaspar de Borja y Velasco had sent to Madrid from Rome in 1635 or earlier. This was Velázquez`s last religious painting. The pray

The Buffoon Calabacillas
Oil on canvas. 1635 - 1639
Velázquez, Diego Rodríguez de Silva y
The Buffoon Calabacillas
Oil on canvas. 1635 - 1639
Velázquez, Diego Rodríguez de Silva y

One of the most unique and distinctive areas within Velázquez`s oeuvre is that of his portraits of buffoons, dwarves and individuals collectively known as hombres de placer (men of pleasure). There were indispensable figures in the social structure of Spanish royal palaces and functioned as a crucial counterpoint in the markedly hierarchical and protocol-based system that governed court lif

The Virgin and Child
Oil on canvas. 1645 - 1652
Cano, Alonso
The Virgin and Child
Oil on canvas. 1645 - 1652
Cano, Alonso

With its very straightforward composition, this painting has the serenity and restfulness that characterize many of Alonso Cano´s religious works. The painter´s skill at assimilating the most varied influences is evident here: the composition is based on a well-known religious print by Dürer, while the palette bears a certain resemblance to Titian´s, and the Virgin is quite close to Rafael´s

The Virgin and Child
Oil on canvas. 1645 - 1652
Cano, Alonso
The Virgin and Child
Oil on canvas. 1645 - 1652
Cano, Alonso

Technical studies carried out at the Museo del Prado confirm Alonso Cano as the author of this Virgin of the Star, which belongs to the Museo del Prado but has been on loan to the Museo del Bellas Artes de Granada since 1958. Cano’s hand in this work had been questioned by the maximum authority on this artist, hispanist Harold E. Wethey. In his exhaustive monograph from 1955, Wethey considered it

The Allocution of Marquis del Vasto to his Troops
Oil on canvas. 1540 - 1541
Titian (Tiziano Vecellio)
The Allocution of Marquis del Vasto to his Troops
Oil on canvas. 1540 - 1541
Titian (Tiziano Vecellio)

Alfonso d´Avalos, first Marchese del Vasto, was born in Ischia on 25 May 1502 to a noble Neapolitan family of Castilian origins. He fought in Pavia (1525) under the orders of his uncle Fernando d´Avalos, Marchese di Pescara, inheriting his titles and estates on his uncle´s death that same year. In 1535 D´Avalos commanded the army that conquered Tunis and in 1538, he was appointed governor of Milan

Adam and Eve
Oil on canvas. Ca. 1550
Titian (Tiziano Vecellio)
Adam and Eve
Oil on canvas. Ca. 1550
Titian (Tiziano Vecellio)

The painting is a faithful visualisation of Genesis 30, 9-19 in which Eve is blamed for accepting the forbidden fruit (although the type of fruit is not stated, Titian follows tradition and opts for an apple) and there is a reference to a second tree, a fig, whose leaves are used by Adam and Eve to cover their nakedness. Although we do not have a definite date for this painting, nor do we know the

Emperor Charles V at Mühlberg
Oil on canvas. 1548
Titian (Tiziano Vecellio)
Emperor Charles V at Mühlberg
Oil on canvas. 1548
Titian (Tiziano Vecellio)

This portrait commemorates Charles V’s victory over the Schmalkaldic League at Mühlberg on 24 April 1547. The Emperor is equipped in the manner of the light cavalry with a half pike and wheel-lock pistol. His suit of armour was made around 1545 by Desiderius Helmschmid and has an image of the Virgin and Child on the breastplate, as was customary with Charles’ armour from 1531. Panofsky pointe

The Glory
Oil on canvas. 1551 - 1554
Titian (Tiziano Vecellio)
The Glory
Oil on canvas. 1551 - 1554
Titian (Tiziano Vecellio)

Charles V commissioned The Glory from Titian during their meeting in Augsburg in 1550-51. The painting was completed in October 1554 and was sent to Brussels. The unusual composition, which must correspond to precise instructions on the part of the emperor, as Gronau noted, is presided over by the Trinity, with the Virgin and behind her Saint John the Baptist -theologically the two principal inter

The Holy Trinity
Oil on canvas. 1577 - 1579
el Greco (Domenikos Theotokopoulos)
The Holy Trinity
Oil on canvas. 1577 - 1579
el Greco (Domenikos Theotokopoulos)

The Heavenly Father, with an Eastern Miter on his head, holds the body of Christ in his lap. The dove of the Holy Ghost appears over his head, while six young angels surround the scene. Several cherubs´ heads appear at Jesus´ feet and under God the Father´s robes. Based on an engraving by Albrecht Dürer, this was one of El Greco´s first commissioned pieces in Toledo. The artist harmonizes the

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