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Artists

Artists 1 to 30 of 91:

Alcora Ceramic Factory

Plaque depicting Jacob choosing Rachel to be his Bride

by Alcora Ceramic Factory, circa 1755

Medium
Faïence (tin-glazed earthenware)
Dimensions
Object (height x width): 94 × 47.6 cm (37 × 18 3/4 in)
Notes
Clad in complementary yellow and blue, a young man and woman coyly eye each other, their hands meeting at the very center of the scene. Lively, overflowing foliage serves as a dramatic and fitting backdrop to this courtship. At the base of the plaque, an inscription in Latin that identifies the pair translates as: Behold the very beautiful Rachel with her sheep, whom Jacob chooses as his wife. After painting by Jacopo Amigoni (Italian, 1682-1752). Despite the inscription, the scene also includes several details from the biblical account of Rebecca and Eliezer at the well. The jar balanced on the well, the flamingolike camels in the background, and the jewel-laden chest in the foreground are elements of this story. The plaque is based on a mid-seventeenth century image of Rebecca and Eliezer by Jacopo Amigoni, whose paintings and engravings often served as a model for the decoration of plaques and tapestries. It is likely that the painter of the plaque had a print of Amigoni's work in hand but transformed it into the more amorous Jacob and Rachel subject, probably for a specific patron.
Location
J. Paul Getty Museum

18th century

Alguacil, Casiano

Detalles de San Juan de los Reyes, Toledo

by Casiano Alguacil, 1875

Medium
Albumen silver print
Dimensions
Image: 19.4 × 40.5 cm (7 5/8 × 15 15/16 in); mount: 44.1 × 34.9 cm (17 3/8 × 13 3/4 in)
Notes
Three religious statues resting on niches on a pillar.
Location
J. Paul Getty Museum

19th century

Amedor

Nuns at Mass

by Amedor, 1900

Medium
Gelatin silver print
Dimensions
Image: 16.4 × 22.7 cm (6 7/16 × 8 15/16 in)
Notes
The inside of a cathedral during mass. Nuns sit in rows wearing white cornette hats, facing towards the altar where priests and bishops kneel on the ground. Lit candles cover the altar.
Location
J. Paul Getty Museum

20th century

Anguissola, Sofonisba

Portrait of a Spanish Prince (probably Philip II)

by Sofonisba Anguissola, circa 1573

Medium
Oil
Dimensions
23 1/4 in x 19 in (59.06 cm x 48.26 cm)
Location
San Diego Museum of Art

16th century

Anonymous / Unknown

Abacus of Capital from the Abbey of Santa María de Lebanza

by Anonymous / Unknown, circa 1185

Medium
Limestone and mortar with red paint
Dimensions
64 x 64 x 50.5 cm
Credits
Harvard Art Museums/Fogg Museum, Friends of the Fogg Art Museum Fund
Location
Harvard Art Museums

12th century

Bowl

by Anonymous / Unknown

Medium
Earthenware with tin glaze; copper, cobalt, and iron in-glaze decoration
Dimensions
Height: 5 1/2 in (14 cm); diameter: 9 1/2 in (24.1 cm)
Credits
San Antonio Museum of Art, Gift of Dr. Ric Bradford, Houston, Texas, 2012.34. Image courtesy of the San Antonio Museum of Art; photo by Peggy Tenison
Location
San Antonio Museum of Art

18th century

Butcher's Shop Sign

by Anonymous / Unknown, circa 1910–1920

Medium
Iron with cloth-wrapped wire
Dimensions
Height: 34 in (86.4 cm); width: 121 in (307.3 cm); depth: 18 in (45.7 cm)
Credits
San Antonio Museum of Art, Gift of Peter P. Cecere, 2014.17. Image courtesy of the San Antonio Museum of Art; photo by Benjamin McVey
Location
San Antonio Museum of Art

20th century

Camel

by Anonymous / Unknown, circa 1129–1134

Medium
Fresco transferred to canvas
Dimensions
Overall: 97 x 53 1/2 in (246.4 x 135.9 cm)
Credits
The Cloisters Collection, 1961.
Notes
First half 12th century (possibly 1129–34)
Location
The Metropolitan Museum of Art (The Met)

12th century

Column or Columnar Support with Three Apostles: Matthew, Jude, and Simon

by Anonymous / Unknown, circa 1125–1150

Medium
Marble
Dimensions
116.3 x 27.5 cm (45 13/16 x 10 13/16 in)
Credits
Harvard Art Museums/Fogg Museum, Gift of The Republic of Spain through the Museo Arqueologico Nacional and Professor Arthur Kingsley Porter
Location
Harvard Art Museums

12th century

Lusterware platter

by Anonymous / Unknown

Medium
Glazed earthenware
Dimensions
Height: 2 1/4 in (5.7 cm); diameter: 19 in (48.3 cm)
Credits
San Antonio Museum of Art, Gift of Mrs. Brooke F. Dudley and Mrs. Charles Best, 99.33. Image courtesy of the San Antonio Museum of Art; photo by Joel Salcido
Location
San Antonio Museum of Art

16th century

Oil Jar

by Anonymous / Unknown, circa 1900

Medium
Earthenware with glaze
Dimensions
Height: 13 in (33 cm); diameter: 9 in (22.9 cm)
Credits
San Antonio Museum of Art, Gift of Peter P. Cecere, 2006.1.55. Image courtesy of the San Antonio Museum of Art; photo by Peggy Tenison
Location
San Antonio Museum of Art

20th century

Oil Jar

by Anonymous / Unknown, circa 1900

Medium
Earthenware, slip, and metal
Dimensions
Height: 14 1/2 in (36.8 cm); width: 9 1/4 in (23.5 cm); depth: 9 1/2 in. (24.1 cm)
Credits
San Antonio Museum of Art, Gift of Peter P. Cecere, 2006.1.54. Image courtesy of the San Antonio Museum of Art; photo by Peggy Tenison
Location
San Antonio Museum of Art

20th century

Our Lady of Guadalupe

by Anonymous / Unknown

Medium
Oil on copper
Dimensions
Unframed: 14 x 11 in (35.6 x 27.9 cm); with frame: 23 1/2 × 20 1/2 × 3 1/2 in (59.7 × 52.1 × 8.9 cm)
Credits
San Antonio Museum of Art, Purchased with funds provided by Ford Motor Co., 2000.40. Image courtesy of the San Antonio Museum of Art; photo by Ansen Seale
Location
San Antonio Museum of Art

18th century

Our Lady of Guadalupe

by Anonymous / Unknown

Medium
Polychromed wood
Dimensions
Height: 41 1/2 in (105.4 cm); width: 21 1/2 in (54.6 cm); depth: 6 1/2 in. (16.5 cm)
Credits
San Antonio Museum of Art, Gift of Roberta S. McCrary, 85.32.a-e. Image courtesy of the San Antonio Museum of Art; photo by Ansen Seale
Location
San Antonio Museum of Art

20th century

Our Lady of the Pillar

by Anonymous / Unknown

Medium
Oil on canvas
Dimensions
Unframed: 42 x 31 3/4 in (106.7 x 80.6 cm); framed: 51 x 41 1/2 in (129.5 x 105.4 cm)
Credits
San Antonio Museum of Art, Purchased with funds provided by the Ford Motor Company, 2000.19. Image courtesy of the San Antonio Museum of Art; photo by Ansen Seale
Location
San Antonio Museum of Art

18th century

Platter

by Anonymous / Unknown

Medium
Earthenware with tin glaze
Dimensions
Height: 3 1/8 in (7.9 cm); diameter: 15 in (38.1 cm)
Credits
San Antonio Museum of Art, Gift of the Estate of Ellen M. Slayden, 26.1328. Image courtesy of the San Antonio Museum of Art; photo by Joel Salcido
Location
San Antonio Museum of Art

17th century

Portrait of a Woman

by Anonymous / Unknown, circa 1800

Medium
Oil on canvas
Dimensions
14 15/16 x 11 1/8 in (38 x 28.2 cm)
Credits
Acquired by Henry Walters with the Massarenti Collection, 1902
Location
Walters Art Museum

19th century

Pyxis

by Anonymous / Unknown, circa 950–975

Medium
Elephant ivory
Dimensions
Overall: 4 5/8 x 4 1/8 in (11.7 x 10.5 cm)
Credits
The Cloisters Collection, 1970.
Location
The Metropolitan Museum of Art (The Met)

10th century

Saint John the Baptist

by Anonymous / Unknown, circa 1740

Medium
Charcoal, heightened with opaque white watercolor
Dimensions
43 × 26.9 cm (16 15/16 × 10 9/16 in)
Credits
Purchased with funds provided by the Disegno Group.
Notes
After Juan Conchillos Falcó (Spanish, 1641-1711). On striking blue prepared paper, this academic figure study is posed as Saint John the Baptist. Seen from below, suggesting that the model stood on a raised platform, the saint looms large. The artist modeled his figure using the blue as a middle tone. Charcoal and white watercolor forcefully articulate the anatomical form of the saint, and convey his powerful presence. The saint's musculature is dramatically portrayed in gritty black lines built up in bold succession. The summary treatment of the drapery, executed in broad, jagged strokes, gives the saint's clothing an abstract quality that reiterates the drawing's primary purpose as a study of the male body. On close examination, the charcoal's rough texture reflects glints of light, creating a seamless marriage between medium, technique, and subject.
Location
J. Paul Getty Museum

18th century

Trunk

by Anonymous / Unknown

Medium
Chip carved wood and iron
Dimensions
Height: 24 1/2 in (62.2 cm); width: 64 in (162.6 cm); depth: 19 in (48.3 cm)
Credits
San Antonio Museum of Art, Gift of Peter P. Cecere, 2006.1.98. Image courtesy of the San Antonio Museum of Art; photo by Alayna Barrett Fox
Location
San Antonio Museum of Art

19th century

Vidal Mayor

by Anonymous / Unknown, circa 1290–1310

Medium
Tempera colors, gold leaf, and ink
Dimensions
Leaf: 36.5 × 24 cm (14 3/8 × 9 7/16 in)
Notes
By unknown artist/maker, Vidal de Canellas (Spanish, active Aragon, Spain 1236-1252), and probably Michael Lupi de Çandiu (Spanish, active Pamplona, Spain 1297-1305). In 1247, with the reconquest of Spain from the Muslim forces virtually complete, King James I of Aragon and Catalonia, Spain, decided to establish a new systematic code of law for his kingdom. He entrusted the task to Vidal de Canellas, bishop of Huesca. The Getty Museum's manuscript, the only known copy of the law code still in existence, is a translation of Vidal de Canellas's Latin text into the vernacular Navarro-Aragonese language (in that language, the book is called Vidal Mayor in reference to the author). The manuscript's scribe was Michael Lupi de Çandiu, who identifies himself in an inscription and who also may have translated the text. Not only is the text an important historical document but it is luxuriously illuminated with hundreds of historiated and decorated initials. Although written and illuminated between 1290 and 1310 in one of the major urban centers in northeastern Spain, the elegant style of the painting reveals an intimate link with contemporary French illumination. This stylistic connection demonstrates the increased movement of both artists and manuscripts from one European court to another.
Location
J. Paul Getty Museum

14th century

Bayeu y Subias, Francisco

The Virgin Annunciate (recto); Sketch of a Figure (verso)

by Francisco Bayeu y Subias, circa 1769

Medium
Black chalk with touches of white (recto); black chalk (verso)
Dimensions
47 × 31.5 cm (18 1/2 × 12 3/8 in)
Location
J. Paul Getty Museum

18th century

Beauchy, Emilio

Court of the Maidens, Alcazar, Seville, (Patio de las Doncellas, Alcazar, Sevilla)

by Emilio Beauchy, 1870

Medium
Albumen silver print
Dimensions
Image: 24 × 29.5 cm (9 7/16 × 11 5/8 in)
Location
J. Paul Getty Museum

19th century

Bermejo, Bartolomé

The Arrest of Santa Engracia

by Bartolomé Bermejo, circa 1474–1477

Medium
Oil
Dimensions
38 1/4 in x 21 3/16 in (97.16 cm x 53.82 cm)
Location
San Diego Museum of Art

15th century

Bernat, Martín

The Crucifixion

by Martín Bernat, circa 1480–1490

Medium
Oil
Dimensions
58 in x 37 3/8 in (147.32 cm x 94.93 cm)
Location
San Diego Museum of Art

15th century

Blanchard, María

Seated Woman (Femme assise)

by María Blanchard, circa 1917

Medium
Oil on canvas
Dimensions
43 3/4 x 30 1/4 in (111.1 x 76.8 cm)
Credits
Meadows Museum, SMU, Dallas. Museum purchase with funds from The Meadows Foundation, MM.08.02. Photography by Michael Bodycomb.
Location
Meadows Museum

20th century

Borrassà, Lluís

Saint John the Baptist and Saint Barbara

by Lluís Borrassà, circa 1411–1413

Medium
Tempera on panel
Dimensions
87.4 x 89.8 x 8.2 cm
Credits
Harvard Art Museums/Fogg Museum, Alpheus Hyatt Purchasing Fund
Location
Harvard Art Museums

15th century

Camino

Danza de Gitanos

by Camino, 1850–1888

Medium
Albumen silver print
Dimensions
Image: 20.5 × 26.2 cm (8 1/16 × 10 5/16 in); mount: 25.4 × 31.5 cm (10 × 12 3/8 in)
Notes
A man playing guitar in a circle with a group of women who are dancing or playing tambourines. The group is next to a large wooden cross at the base of a mountain.
Location
J. Paul Getty Museum

19th century

Canes, Francisco

Christian Gospels in Arabic for Sundays and Feast Day

by Francisco Canes, 1758

Medium
Hand painted manuscript
Dimensions
10 1/2 x 7 3/4 in. (26.7 x 19.7 cm)
Location
Harn Museum of Art

18th century

Cano, Alonso

Christ and Two Followers on the Road to Emmaus

by Alonso Cano, circa 1630

Medium
Oil on canvas
Dimensions
20 1/4 x 26 1/4 in (51.5 x 66.7 cm)
Credits
Gift of Leonard and Barbara Scherlis, 2003
Notes
Possibly by Alonso Cano
Location
Walters Art Museum

17th century

Christ in Limbo

by Alonso Cano, circa 1655

Medium
Oil on canvas
Dimensions
66 × 47 1/2 in. (167.64 × 120.65 cm)
Location
LACMA

17th century

Christ the Redeemer

by Alonso Cano, circa 1645–1650

Medium
Oil
Dimensions
37 1/2 in x 17 3/8 in (95.25 cm x 44.13 cm)
Location
San Diego Museum of Art

16th century

Carducho, Vicente

St. Jerome Hearing the Trumpet of the Last Judgment

by Vicente Carducho, circa 1626–1632

Medium
Black chalk with brown wash, heightened with white gouache, squared in black chalk
Dimensions
31.8 × 21.6 cm (12 1/2 × 8 1/2 in)
Notes
With a long beard and curling locks, a slightly disheveled Saint Jerome listens open-mouthed in astonishment as an angel overhead sounds its trumpet. Vicente Carducho drew Jerome interrupted in the act of writing, with his faithful friend and attribute the lion by his side. Artists often showed Jerome writing, undoubtedly a common activity for the learned saint who translated the Bible into Latin. Jerome commonly appeared nearly nude, giving artists the opportunity to display his gaunt, ascetic figure. Carducho suggested the saint's lean, muscular body with brown wash and white gouache, using while radiating strokes of black chalk to describe the drapery, which nearly merges with the rocks. The artist reworked the saint's right leg several times, positioning it first forward and then further back until it rested underneath his left knee. The black chalk squaring on this drawing implies that Carducho intended this drawing as a preparatory study for a large painting, although scholars have not identified such a work.
Location
J. Paul Getty Museum

17th century

Carreño de Miranda, Juan

The Visitation

by Juan Carreño de Miranda, circa 1655–1660

Medium
Pen and brown ink and gray-brown wash, heightened with white gouache, over touches of black chalk (recto); black chalk (verso)
Dimensions
24.8 × 23.7 cm (9 3/4 × 9 5/16 in)
Notes
Two cousins share in a moment of mutual happiness in this scene of rejoicing. The Virgin Mary rushes up the steps to congratulate her elderly cousin Saint Elizabeth, placing her left hand on Elizabeth's shoulder and clasping the other. Both women celebrate their respective pregnancies, the Virgin with the infant Jesus and Elizabeth with John the Baptist. Elizabeth had particular cause for celebration as she had conceived in old age, after a lifetime of barrenness. Juan Carreño de Miranda conveyed the scene thorough energetic motion and nervous handling of the pen. Vigorous strokes describe the flowing outline of the Virgin's cloak, while summary passages of wash in gray-brown define Elizabeth's head and back. Amid the swirling mass of lines on the left several indistinct heads are visible. Another mother crouches at the foot of the steps, holding a baby in her arms.
Location
J. Paul Getty Museum

17th century

Castillo y Saavedra, Antonio del

Dead Christ with Lamenting Angels

by Antonio del Castillo y Saavedra, 1650

Medium
Oil on copper
Dimensions
15 × 12 1/2 in (38.1 × 31.75 cm)
Location
LACMA

17th century

St. Jerome Hearing the Trumpet of the Last Judgment

by Antonio del Castillo y Saavedra, circa 1645–1650

Medium
Reed pen and brown ink, heightened with white gouache
Dimensions
29.4 × 19.8 cm (11 9/16 × 7 13/16 in)
Notes
Living in the wilderness as a hermit, Saint Jerome heard trumpets sounding the Last Judgment; looking up, he saw the cross with Christ's body rising in front of him. Here the trumpet appears so tantalizingly close that Jerome reaches up to try to touch it. His attributes, a lion and a book, surround him. Antonio del Castillo y Saavedra built the dynamic composition from lively, quick strokes. Hatching and cross-hatching emphasize the rippling muscles on the saint's arms and back and elaborate the folds of fabric around his waist. They suggest the undergrowth on the left and the lion's fur.
Location
J. Paul Getty Museum

17th century

Chillida, Eduardo

Place I

by Eduardo Chillida, 1968

Medium
Steel
Dimensions
22 1/2 x 18 1/4 x 39 1/2 in. (57.15 x 46.36 x 100.33 cm)
Location
Bechtler Museum of Modern Art

20th century

Dalí, Salvador

Archeological Reminiscence of Millet's Angelus

by Salvador Dalí, 1934

Medium
Oil on wood panel
Dimensions
12 1/2 in x 15 1/2 in
Location
Dalí Museum

20th century

Cadaqués

by Salvador Dalí, 1923

Medium
Oil on canvas
Dimensions
38 in x 50 in
Location
Dalí Museum

20th century

Daddy Longlegs of the Evening-Hope!

by Salvador Dalí, 1940

Medium
Oil on canvas
Dimensions
16 in x 20 in
Location
Dalí Museum

20th century

Don Quixote

by Salvador Dalí, 1964

Medium
Etching
Dimensions
Image: 15 3/8 x 11 5/8 in (39.0525 x 29.5275 cm); Sheet: 22 x 14 7/8 in (55.88 x 37.7825 cm)
Location
Allentown Art Museum

20th century

Female Nude (alternate title: Beigneuse [sic])

by Salvador Dalí, 1928

Medium
Oil and sand on wood panel
Dimensions
25 in x 29 1/2 in
Location
Dalí Museum

20th century

Femme Couchée

by Salvador Dalí, 1926

Medium
Oil on wood panel
Dimensions
10 3/4 in x 16 in
Location
Dalí Museum

20th century

Golden Chalice

by Salvador Dalí, 1976

Medium
Colored lithograph
Dimensions
Image: 22 in x 30 in
Location
NSU Art Museum Fort Lauderdale

20th century

Les Diners de Galla

by Salvador Dalí, 1977

Medium
Lithograph (25/395)
Dimensions
Image: 22 in x 29 1/2 in
Location
NSU Art Museum Fort Lauderdale

20th century

Man with Clock Face

by Salvador Dalí, 1974

Medium
Lithograph
Dimensions
Image: 22 in x 30 in
Location
NSU Art Museum Fort Lauderdale

20th century

Oeufs sur le plat sans le plat

by Salvador Dalí, 1932

Medium
Oil on canvas
Dimensions
23 3/4 in 16 1/2 in
Location
Dalí Museum

20th century

Playing Card

by Salvador Dalí, 1967

Medium
Felt-tip pen and pencil on paper
Dimensions
Image: 14 x 9 1/4 in (35.56 x 23.495 cm); Sheet: 19 1/2 x 12 1/8 in (49.53 x 30.7975 cm)
Location
Allentown Art Museum

20th century

Prodigality

by Salvador Dalí, 1963

Medium
Color aquatint
Location
John and Mable Ringling Museum of Art

20th century

Slave Market with the Disappearing Bust of Voltaire

by Salvador Dalí, 1940

Medium
Oil on canvas
Dimensions
18 1/4 in x 25 3/4 in
Location
Dalí Museum

20th century

The Average Bureaucrat

by Salvador Dalí, 1930

Medium
Oil on canvas
Dimensions
31 7/8 in x 25 3/4 in
Location
Dalí Museum

20th century

The Basket of Bread

by Salvador Dalí, 1926

Medium
Oil on wood panel
Dimensions
12 1/2 in x 12 1/2 in
Location
Dalí Museum

20th century

The Clock of Time

by Salvador Dalí, 1976

Medium
Colored lithograph
Dimensions
Image/sheet: 29 1/2 x 21 1/4 in
Location
NSU Art Museum Fort Lauderdale

20th century

The First Days of Spring

by Salvador Dalí, 1928

Medium
Oil and collage on wood panel
Dimensions
19 3/4 in x 25 5/8 in
Location
Dalí Museum

20th century

The God of the Bay of Roses

by Salvador Dalí, 1944

Medium
Oil on canvas
Dimensions
Unframed: 22 1/8 x 30 3/26 in (56.2 x 76.68 cm); framed: 33 3/4 x 43 in (85.73 x 109.22 cm)
Credits
© Virginia Museum of Fine Arts. Photo by Travis Fullerton
Location
Virginia Museum of Fine Arts

20th century

The Hallucinogenic Toreador

by Salvador Dalí, circa 1969–1970

Medium
Oil on canvas
Dimensions
157 in x 118 in
Location
Dalí Museum

20th century

The Weaning of Furniture-Nutrition

by Salvador Dalí, 1934

Medium
Oil on wood panel
Dimensions
7 in x 9 1/2 in
Location
Dalí Museum

20th century

de Borgoña, Juan

The Investiture of Saint Ildefonsus

by Juan de Borgoña, circa 1508–1514

Medium
Tempera and oil on wood
Dimensions
98 1/4 x 81 3/4 in (249.6 x 207.6 cm)
Credits
Meadows Museum, SMU, Dallas. Algur H. Meadows Collection, MM.69.03. Photography by Michael Bodycomb.
Location
Meadows Museum

16th century

de Castro, Bartolomé

Pope Honorius III Approving the Rule of Saint Francis of Assisi

by Bartolomé de Castro, circa 1500

Medium
Tempera and tooled gold on panel
Dimensions
48 5/16 x 33 5/8 in (122.7 x 85.4 cm)
Credits
John G. Johnson Collection, 1917
Location
Philadelphia Museum of Art

16th century

de Grañén, Blasco

The Crucifixion

by Blasco de Grañén, 1440–1445

Medium
Tempera on panel
Dimensions
Overall: 55 3/4 x 39 3/8 in (141.61 x 100.01 cm)
Credits
© Virginia Museum of Fine Arts. Photo by Travis Fullerton
Location
Virginia Museum of Fine Arts

15th century

de Juanes, Juan

Christ Carrying the Cross

by Juan de Juanes, circa 1560

Medium
Pen and brown ink and brown wash over black chalk; the upper left and right corners trimmed diagonally and made up
Dimensions
21 × 34.8 cm (8 1/4 × 13 11/16 in.)
Notes
Juan de Juanes actively worked out his ideas in this drawing, first in black chalk lines, which are faintly visible under the bolder pen-and-ink forms. In the earlier chalk rendition, he drew the figure of Christ farther to the left, carrying the cross with his right arm. The soldier to the right, leading him by the rope about his neck, was also father to the left, while two additional soldiers, faintly drawn in the top right, were not developed in pen. The Holy Women kneeling before him also changed when Juanes finished the drawing in pen after making the chalk underdrawing. He used the brown ink to model the forms in three dimensions with extensive, insistent hatching and cross-hatching. The artist's technique and the spatial clarity of the individual figures reflect the influence of Raphael, whose paintings he studied on a visit to Italy around 1560.
Location
J. Paul Getty Museum

16th century

Enthroned Virgin and Child, with Saint Jerome, the Archangel Michael, and Angels Holding Instruments of the Passion

by Juan de Juanes, circa 1550

Medium
Oil and tooled gold on panel
Dimensions
48 3/4 x 35 1/4 in (123.8 x 89.5 cm)
Credits
John G. Johnson Collection, 1917
Location
Philadelphia Museum of Art

16th century

The Consecration of Saint Eligius

by Juan de Juanes, circa 1536

Medium
Tempera and oil on panel transferred to canvas
Dimensions
58.6 x 37.8 in
Credits
University of Arizona Museum of Art, Tucson, Arizona, Gift of Samuel H. Kress Foundation, 1961.013.019
Location
University of Arizona Museum of Art

16th century

de Mena, Pedro

Mater Dolorosa

by Pedro de Mena, circa 1674–1685

Medium
Partial-gilt polychrome wood
Dimensions
Sculpture only: 24 13/16 × 23 1/8 × 15 in (63 × 58.7 × 38.1 cm); on black base: 26 × 24 3/4 × 16 1/2 in, 44.2 lb (66 × 62.9 × 41.9 cm, 20 kg)
Credits
Purchase, Lila Acheson Wallace Gift, Mary Trumbull Adams Fund, and gift of Dr. Mortimer D. Sackler, Theresa Sackler and Family, 2014.
Location
The Metropolitan Museum of Art (The Met)

17th century

San Diego de Alcalá

by Pedro de Mena, 1665–1670

Medium
Polychromed
Dimensions
24 7/32 in x 9 7/16 in x 10 5/8 in (61.5 cm x 24 cm x 27 cm)
Location
San Diego Museum of Art

17th century

Study for a Statue of Queen Isabella

by Pedro de Mena, 1673–1673

Medium
Black chalk, pen and brown-gray ink, with yellow, gray and red wash
Dimensions
34.4 × 23.3 cm (13 9/16 × 9 3/16 in)
Notes
Before an altar with a crown on a large cushion, Queen Isabella the Catholic kneels in silent prayer. She kneels atop an ornate bracket with an empty escutcheon and a large crown in the center, flanked by various emblems and trophies including pomegranates, flags, suits of armor, and two nude men. The study gives enough careful detail to allow a stone carver to accurately reproduce this proposed design for a polychrome marble statue of the Spanish queen. The calibrations, numbered one to six along the right side of the sheet, would have allowed another craftsman to judge the scale of the work. The careful shading down the right edge of the bracket and around the emblems that hang from it suggests that these areas should project further forward than the top portion of the design. The rectangular frame around the queen represents a shallow niche. Pedro de Mena y Medrano produced the design for a statue for the main chapel of the cathedral of Granada. A pendant statue portrays Isabella's husband, Ferdinand II of Aragon, who kneels opposite her. So popular were the two statues that they were copied for another cathedral, in Málaga.
Location
J. Paul Getty Museum

17th century

de Osona the Elder, Rodrigo

The Agony in the Garden

by Rodrigo de Osona the Elder, circa 1465

Medium
Oil and gold on panel
Dimensions
16 3/4 x 18 3/4 in (42.5 x 47.6 cm)
Credits
John G. Johnson Collection, 1917
Location
Philadelphia Museum of Art

15th century

The Lamentation

by Rodrigo de Osona the Elder, circa 1465

Medium
Oil and gold on panel
Dimensions
16 3/8 x 18 5/8 in (41.6 x 47.3 cm)
Credits
John G. Johnson Collection, 1917
Location
Philadelphia Museum of Art

15th century

de Zurbarán, Francisco

Agnus Dei (”Lamb of God”)

by Francisco de Zurbarán, circa 1635–1640

Medium
Oil
Dimensions
14 in x 20 1/2 in (35.56 cm x 52.07 cm)
Location
San Diego Museum of Art

17th century

Christ and the Virgin in the House at Nazareth

by Francisco de Zurbarán, 1640

Medium
Oil on canvas
Dimensions
Framed: 201 x 256 x 10 cm (79 1/8 x 100 13/16 x 3 15/16 in.); Unframed: 165 x 218.2 cm (64 15/16 x 85 7/8 in.)
Location
Cleveland Museum of Art

17th century

Saint Francis in Prayer

by Francisco de Zurbarán, circa 1638–1639

Medium
Oil on canvas
Dimensions
46-1/4 x 35-1/2 in (117.5 x 90.2 cm)
Credits
The Norton Simon Foundation
Location
Norton Simon Museum

17th century

Saint Francis in Prayer in a Grotto

by Francisco de Zurbarán, circa 1650–1655

Medium
Oil
Dimensions
62 x 39 9/16 in (157.5 x 100.5 cm)
Location
San Diego Museum of Art

17th century

Saint Francis of Assisi in His Tomb

by Francisco de Zurbarán, 1630–1634

Medium
Oil on canvas
Dimensions
80 5/8 × 44 5/8 in (204.79 × 113.35 cm)
Credits
Milwaukee Art Museum, Purchase M1958.70. Photo by John R. Glembin
Notes
This somber, haunting image of the ascetic Saint Francis typifies the work of one of Spain’s most important Golden Age painters. As is characteristic, Zurbarán depicted the saint alone, in a dark, featureless space, and lit his humble, homespun monk’s robe with dramatic, raking light that also catches on the upturned skull he holds as well as his left foot, which seems to stride into the viewer’s space. Saint Francis was of particular significance to Spain’s monastic communities, which were deeply impacted by the Counter-Reformation. This work was commissioned for Don Gaspar de Guzmán, Count-Duke of Olivares, who was a high-ranking nobleman, close advisor of King Philip IV, and ultimately Prime Minister of Spain (1621–1643).
Location
Milwaukee Art Museum

17th century

Saint Jerome

by Francisco de Zurbarán, circa 1640–1645

Medium
Oil
Dimensions
73 in x 41 in (185.42 cm x 104.14 cm)
Location
San Diego Museum of Art

17th century

Still Life with Lemons, Oranges and a Rose

by Francisco de Zurbarán, 1633

Medium
Oil on canvas
Dimensions
24-1/2 x 43-1/8 in (62.2 x 109.5 cm)
Credits
The Norton Simon Foundation
Location
Norton Simon Museum

17th century

The Annunciation

by Francisco de Zurbarán, 1650

Medium
Oil on canvas
Dimensions
7 ft 1 5/8 in × 10 ft 4 1/2 in (217.5 × 316.2 cm). Framed: 7 ft 8 1/2 in × 10 ft 11 3/4 in × 4 in (235 × 334.6 × 10.2 cm)
Credits
Purchased with the W. P. Wilstach Fund, 1900
Location
Philadelphia Museum of Art

17th century

The Birth of the Virgin

by Francisco de Zurbarán, circa 1627

Medium
Oil on canvas
Dimensions
55-1/2 x 42-3/4 in (141 x 108.6 cm)
Credits
The Norton Simon Foundation
Location
Norton Simon Museum

17th century

The Young Virgin

by Francisco de Zurbarán, circa 1632–1633

Medium
Oil on canvas
Dimensions
46 x 37 in (116.8 x 94 cm)
Credits
Fletcher Fund, 1927.
Location
The Metropolitan Museum of Art (The Met)

17th century

Virgin and Child with Saint John

by Francisco de Zurbarán, 1658

Medium
Oil
Dimensions
54 1/2 in x 42 in (138.43 cm x 106.68 cm)
Location
San Diego Museum of Art

17th century

El Greco

Laocoön

by El Greco, circa 1610–1614

Medium
Oil on canvas
Dimensions
137.5 x 172.5 cm (54 1/8 x 67 15/16 in)
Credits
Samuel H. Kress Collection.
Location
National Gallery of Art

17th century

Saint Francis Kneeling in Meditation

by El Greco, circa 1605–1610

Medium
Oil on canvas
Dimensions
29 7/8 x 25 in (75.9 x 63.5 cm)
Credits
Meadows Museum, SMU, Dallas. Museum purchase, Meadows Museum Acquisition. Fund with private donations and University funds, MM.99.01. Photography by Kevin Todora.
Location
Meadows Museum

17th century

Saint Francis Receiving the Stigmata

by El Greco, circa 1585–1590

Medium
Oil on canvas
Dimensions
40 1/4 × 38 1/8 in (102.24 × 96.84 cm); Framed: 52 5/8 × 49 1/2 × (with build-up): 4 3/4 in (133.67 × 125.73 × 12.07 cm)
Credits
Acquired by Henry Walters with the Massarenti Collection, 1902
Location
Walters Art Museum

16th century

The Adoration of the Shepherds

by El Greco, circa 1576–1577

Medium
Oil
Dimensions
9 1/2 in x 7 3/4 in (24.13 cm x 19.69 cm)
Location
San Diego Museum of Art

16th century

The Holy Family with Mary Magdalen

by El Greco, circa 1590–1595

Medium
Oil on canvas
Dimensions
Framed: 160 x 131 x 7.5 cm (63 x 51 9/16 x 2 15/16 in.); Unframed: 130 x 100 cm (51 3/16 x 39 3/8 in.)
Location
Cleveland Museum of Art

16th century

The Penitent Saint Peter

by El Greco, circa 1590–1595

Medium
Oil
Dimensions
49 1/4 in x 42 3/8 in (125.1 cm x 107.63 cm)
Location
San Diego Museum of Art

16th century

The Vision of Saint John

by El Greco, circa 1608–1614

Medium
Oil on canvas
Dimensions
87 1/2 x 76 in (222.3 x 193 cm); with added strips 88 1/2 x 78 1/2 in (224.8 x 199.4 cm, top truncated)
Credits
Rogers Fund, 1956.
Location
The Metropolitan Museum of Art (The Met)

17th century

El Greco and workshop

Crucifixion with the Virgin Mary and Saint John the Evangelist

by El Greco and workshop, circa 1600–1610

Medium
Oil on canvas
Location
John and Mable Ringling Museum of Art

17th century

Esteve y Marqués, Agustín

Portrait of Juan Maria Osorio

by Agustín Esteve y Marqués, 1786

Medium
Oil on canvas
Dimensions
Framed: 143.8 x 107.6 x 6.4 cm (56 5/8 x 42 3/8 x 2 1/2 in.); Unframed: 120 x 84 cm (47 1/4 x 33 1/16 in.)
Location
Cleveland Museum of Art

18th century

Fernando, Pedro

Saint John the Baptist

by Pedro Fernando, circa 1509–1510

Medium
Oil on panel
Dimensions
Painted surface: 62-1/4 x 21 in (158.1 x 53.3 cm); panel: 62-1/4 x 26-3/4 in (189.2 x 87.6 x 8.3 cm)
Credits
The Norton Simon Foundation
Location
Norton Simon Museum

16th century