Презентация на тему Museo Del Prado

Prado Museum allow us to classify its works according

to the nationality of the original school:


The Italian school has among others, works by Andrea Mantenga, Sandro Botticelli, Rafael, Andrea del Sarto, Correggio, Lorenzo Lotte, Tintoretto, Verones, Tiepolo and above all, Tiziano. 


 Early Flemish, with works by Rogier van der Veyden, Flemish master Hans Memling, Jochim Patinir, Quentin Metsys, Bernard van Orley, Hieronymus Bosch, Pieter Brueghel and the Flemish school with Rubens, Jordaens and Anton van Dyck. 


The German, French and Dutch schools with works by Lucas Cranach, Albert Durer, Nicolas Poussin, Claudio de Lorena and Rembrandt

black suit with lace collar and cuffs and a

pendant and sword that indicate he is a gentleman. This is one of the masterpieces of the Spanish Renaissance and the best known of El Greco’s works.
Painted during the artist’s first years in Toledo, Gentleman with his Hand on his Chest is remarkable for the expressive gaze its sitter directs at the viewer, and the naturalness of the hand’s gesture.
There are many hypotheses about the identity of the sitter and the significance of the painting. Some see his gesture as a symbol of repentance, or of a vow and, while there are reasonable doubts, he could be identified as Juan de Silva y Ribera III, Marquis of Montemayor and mayor of the Alcazar of Toledo.

Author
El Greco
Title
The Nobleman with his Hand on his Chest
Chronology
Ca. 1580
Technique
Oil
Support
Canvas
Measures
81 cm x 65 cm
School
Spanish
Theme
Portrait. Civil

de Flandes, who is known only for the paintings

he made in Castile beginning in 1496, when he entered the service of Isabel la Católica. When the Queen died in 1504, he continued to work in Salamanca and Palencia, adapting his style to the demands of his new clientele. Sometimes these were large works, such as the main altarpiece at Palencia Cathedral, of which the present panel is a part of the attic’s central row.
Juan de Flandes conceived the space of this Crucifixion with a low viewpoint, recalling compositions by Mantegna. His placement of the figures and mastery of straight lines give the overall work a sense of monumentality, recalling Italian painting. In order to focus attention on the figure of Christ on the Cross, which is at the center of the composition with a background of landscape, Flandes conceived a semicircle of figures around Him. This Flemish painter’s originality in representing such an iconographic subject is reinforced by his technical mastery, which is evident in his manner of reproducing the qualities of objects such as the precious stones and coral scattered around the ground.

Author
Flades, Juan de
Title
Crucifixion
Chronology
1509 - 1518
Technique
Oil
Support
Wooden Panel
Measures
123 cm x 127 cm
School
Spanish-Flemish
Theme
Religion. New Testament

identified as either Alidosi, Bibbiena, Cybo or Trivulzio.
This work

was painted in Rome at a time when Rafael was at the height of his capacity to “paint people as more real than they really are,” as his peers put it.
The composition is derived from Leonardo da Vinci’s Mona Lisa. In both works, the model appears seated, forming a triangle with his or her body and arm. Especially surprising here are the chromatic contrasts between the brilliant red of his hat, the whiteness of his sleeve, and his face, thanks to the use of highlights. This characteristic and the meticulous brushstrokes give the sitter a three-dimensional character that reveals Rapahel’s interest in sculpture during those years.
This work was acquired by Carlos IV (1748-1819) in Rome while he was still a prince.

Author Raphael
Title The Cardinal
Chronology Ca. 1510
Technique Oil
Support Wooden Panel
Measures 79 cm x 61 cm
School Italian
Theme Portrait. Ecclesiastical

in order to tie up his amputated head as

a trophy.
This painting shows the final scene off the battle between Philistines and Israelites as told in the Old Testament (Samuel 17, 51). David slew Goliath, the giant, using only a stone and a sling, bringing victory to the people of Israel.
Caravaggio portrays David, not as a hero but rather as a young man with a serene aspect who has vanquished Evil thanks to his cleverness and Divine Aid. Only his clenched left fist betrays the tension of the moment.
There has been some controversy as to who painted this work, but nowadays it is unanimously attributed to Caravaggio himself.

Author
Caravaggio (Italian)
Title
David Victorious over Goliath
Chronology
Early Seventeenth Century

It represents an Agnus Dei or “Lamb of God,”

in allusion to Christ's sacrificial death to save humanity. The straightforward composition consists exclusively of an image of the young animal with its legs bound, lying on a windowsill and brightly light by a single light source.

Author
Zurbar
Title
Agnus Dei (The Lamb of God)
Chronology
1635-1640
Measures
38 cm x 62 cm

Old Testament

cm x 127 cm

on Horseback
Chronology
1548
Technique
Oil
Support
Canvas
Measures
335 cm x 127 cm
School
Italian
Theme
Portrait. Royal/Imperial

cm x 127 cm x 127 cm - 825

kg

127 cm

127 cm

127 cm
School
Italian
Theme
Religion. Iconography of the Virgin

Panel
Measures
220 cm x 127 cm
School
Flemish
Theme
Allegory. Moral

cm