This delicate female figure has been identified as Mary Magdalene before Christ on the cross. The work formed part of the altar piece of the parish church of Yepes (Toledo), together with Saint Monica (P-2836), whose wrinkled face contrasts with the soft, rounded features of the Magdalene, who is painted with long brushstrokes and softer transitions between light and shade.

This depiction of Christ, lifeless on the cross and flanked by the Virgin Mary and Saint John, is considered one of the finest of many images of Calvary painted by this artist from Toledo. It is also a significant example of his painting, which owes much to the compositions and figurative models of his fundamental teacher in Toledo: El Greco. Finally, it reflects the Carravaggesque chiaroscuros shaped by Tristán’s second and definitive period of training in Rome, between approximately 160

Esta estampa, número 10 de la colección Cuadros selectos de la Real Academia de Bellas Artes de San Fernando, reproduce la pintura de Bartolommeo Carducci conservada en la citada institución (inv. 0627). Durante el siglo XIX la pintura estuvo atribuida a Luis Tristán, según la letra grabada en esta plancha, y después, también a Alejandro Magnasco. La estampa se puso a la venta por primera vez en 1870, formando parte del primer cuaderno de la colección, que finalizaría su publicación en 1885. Aco

This canvas depicts the moment when Christ blesses the bread and institutes the Sacrament of the Eucharist. The figures resemble those of El Greco, Tristán’s first master, but the colour and precise depiction of the foodstuffs on the table reveal a different aesthetic. By incorporating a still-life motif the artist makes use of one of the most innovative artistic genres of the seventeenth century.

This painting comes from the altar piece of the parish church of Yepes (Toledo), where it belonged to a set of images of saints that accompanied large paintings depicting scenes from the life of Christ. Saint Monica was the mother of Saint Augustine and was considered a model Christian wife and mother. Tristán paints her in bold strokes and contrasting lighting in order to accentuate her sculptural quality.

This image resembles some of the portraits painted by El Greco, who was Tristán’s master in Toledo for a time: the concentrated gaze with which the sitter faces the viewer, and his intense energy unmistakeably recall El Greco´s painting. Nothing is known of the identity of this Carmelite, who is portrayed working with two volumes.

San Antonio fue un anacoreta nacido en los confines de la Tebaida hacia el año 250 de nuestra era; practicó una vida de total desapego a los bienes terrenales y durante veinte años se retiró a una gruta donde se entregó a la oración y la penitencia. Los rigores de su retiro llegaron a convertir a San Antonio en el ermitaño por excelencia, cuyo ejemplo fue seguido por otros cristianos. Luis Tristán (hacia 1590-1624) se formó inicialmente en el taller de El Greco, durante los años de 1603 y 1606.

This is a work painted with a rapid, dynamic brushstroke that conveys both the figure’s physical features and his personality. It has traditionally been attributed to Luis Tristán, who worked in El Greco’s studio. The latter clearly influenced this image with regard to both its technique and composition

This drawing depicts the saint looking at the crucifix. Various iconographic elements such as the skull and the trumpet allude to the end of time.

In the “Inventario general de los cuadros de la Trinidad existentes en el depósito y escogidos por la Comisión de la Academia” appear two paintings with the representation of St. John the Baptist. Given that the painting from San Pedro Mártir is, with certainty, the painting by an anonymous author from Madrid (P5303), the one of the Trinitarians with their shoes on must be this one. It was not registered in the “Inventario de las pinturas recogidas en Toledo por el pintor Ju