Jun 27, 2024
Aureliano Beruete y Moret. "Paisaje castellano" Óleo sobre cartón (1908). Museo Goya de la Fundación Ibercaja. Zaragoza.
seen from Hong Kong SAR China
seen from Germany
seen from Germany
seen from Thailand
seen from Austria
seen from Singapore
seen from Germany
seen from China
seen from France
seen from China
seen from France
seen from Morocco
seen from France
seen from United States
seen from France
seen from United States
seen from France
seen from United States
seen from China
seen from Poland
Aureliano Beruete y Moret. "Paisaje castellano" Óleo sobre cartón (1908). Museo Goya de la Fundación Ibercaja. Zaragoza.
Pedro Berruguete (Spanish, c. 1450 – 1504), Christ Saviour of the World, 1501, tempera on pine board Museo Goya
Pedro Berruguete, an essential figure in the transition between Hispano-Flemish Gothic painting and the Renaissance in Castile, painted this Christ, Salvator Mundi in 1501 for the low platform or "predella" of the altar piece in the church of Guaza de Campos in the province of Palencia. Over a gilded background and from behind a mock window, the figure of the risen Christ, partly nude, covered by a royal red cloak and showing the wounds from his Passion, appears in triumph over death. His right hand offers a blessing, while his left holds an orb that symbolises the world that he came to save. (From the museum’s description)
“Escena de toros con picador” (c. 1860-1862). Óleo sobre hoja de lata pintado por Eugenio Lucas Velázquez
En la obra La Virgen impone el collar a Santa Teresa en presencia de San José, (c. 1775-1781) puede apreciarse el proceso técnico seguido por Francisco de Goya y Lucientes para estructurar sus bocetos. Se ve como procedía por zonas, siguiendo la misma fórmula de los pintores primitivos.
"Suerte de matar un toro" (c. 1860-1862), Eugenio Lucas Velázquez