Paintings on art route C
Contemplate the lives of Classical gods and Tudor diplomats, and see paintings by artists including Holbein, Bronzino, Lotto and Titian.
(Showing 30 of 79 works)
Sharp and angular, the Saxon fortress of Königstein, about 25 miles southeast of Dresden, is silhouetted against a pale sky. The artist, Bellotto, was from Venice, and he has applied the traditions of Venetian view painting – a high level of detail, the large scale – to this northern landscape. I...
A man travelling from Jerusalem to Jericho was attacked by thieves who stole his clothes and left him for dead. A priest and a Levite saw the injured man but both passed him by. A Samaritan bound the man’s wounds, put him on his own mule, and carried him to an inn, where he left money for the man...
While carrying his cross, Christ stumbles and falls. One of Christ’s executioners raises a fist to strike him and another pulls him by a rope around his waist. In the distance is Calvary, the barren hill with two crosses where Christ will be crucified. The Virgin follows her son and wipes her tea...
El Greco has used theatrical gestures and intense colours to express the chaos and disruption of the Purification of the Temple – the moment that Christ drove out traders selling animals for sacrifice, furious that the temple was being used for commerce. Christ’s anger is shown through his body,...
On the Sunday morning after the Crucifixion Mary Magdalene visited Christ’s tomb but found it empty. The story is told in the New Testament (John 20). Mary Magdalene is here identified by the pot of ointment with which she anointed Christ’s feet and by the glimpse of her traditional red dress ben...
Saint Jerome kneels against a rocky ledge in the wilderness contemplating the crucified Christ. Savoldo was particularly admired for his depictions of dawn and dusk and the dramatic lighting effects they produced. The painting is signed on the rock below the open book: ‘Giovanni Girolamo of Bresc...
The Virgin Mary turns to look down at the kneeling man beside her and extends a protective arm around his shoulder. Saint John the Baptist points at the lively Christ Child, while Saint Joseph sleeps with his head on his arm. The diagonals in the composition draw the viewer’s eye to Christ’s gaze...
At the request of Martha and Mary, Jesus visited the grave of their brother Lazarus and raised him from the dead (John 11:1–44). Sebastiano shows Christ standing with one hand raised to invoke the power of God and the other pointing to Lazarus, who is seated on the edge of his stone tomb.Christ s...
Vincenzo Morosini (1511–1588) was a powerful Venetian official from one of the oldest, proudest and richest families of Venice. He was a Knight of the Golden Stole, a Venetian order of knighthood represented by the embroidered stole he wears over his shoulder.He observes us with a shrewd and slig...
Saint George plunges his lance into the jaws of the dragon which, according to legend, inhabited the lake outside the city of Lydda in the Holy Land. He has arrived just in time to save the princess, who had been presented as a sacrifice to the creature. The dead body of one of the dragon’s earli...
The Virgin and Child are accompanied by the young Saint John the Baptist and a kneeling woman, who cannot be clearly identified. She holds the infant Christ in her arms and gazes at him in adoration.It is not clear which, if any, New Testament episode is shown here. The shepherd and herdsman in t...
The Pharisees (chief priests) ask Christ whether it is right to pay tax to the Romans, who rule Palestine. Christ, sensing a trap, asks whose likeness and name are on the coinage: ‘They say unto him, Caesar’s. Then he saith unto them, render therefore unto Caesar the things that are Caesar’s; and...
This is Titian’s largest group portrait. The man in a red robe is probably Gabriel Vendramin (1484–1552). The man holding the altar may be Gabriel’s brother, Andrea Vendramin (1481–1547), and the boys are his seven sons. On the altar is a reliquary of the True Cross that their great-great-grandfa...
The Three Kings have come to visit the infant Christ in the stable where he was born. They bring gifts of gold, frankincense and myrrh, and have journeyed from the East (Matthew 2: 10–12). The stable at Bethlehem is attached to the ruins of a great classical building with a triumphal arch in the...
Saint Nicholas lived in the fourth century and was a bishop of Myra, on the southern coast of modern Turkey. His relics were taken from Myra to Bari in Italy in 1087 and remain there today, which is why he is known as Saint Nicholas of Bari. He is the model of our ‘Santa Claus’ because of a lege...
This is one of Veronese’s earliest works, painted when he was about 18, probably for a noble patron in Verona. The lighting from the right suggests that it was made for a specific location, perhaps the side wall of a chapel.The painting’s subject has been the matter of much debate but it is now b...
Helen or Helena was mother of the first Christian emperor, Constantine. She dreamed that an angel revealed to her the location of the cross on which Christ was crucified and urged her to travel to the Holy Land to find it. She dug up three crosses and, by testing their healing power, was able to...
Alexander the Great, the Macedonian emperor, visits the distraught family of King Darius III of Persia, who he has defeated in battle. Darius’s mother Sisigambis mistakes Alexander’s friend Hephaestion, who wears plate armour and an orange cloak, for the victor. Alexander comforts Sisigambis, who...
Barocci represents the holy family in the charming domestic setting of a bedchamber in a Renaissance palace. The infant Christ turns from feeding at his mother’s breast to observe his cousin, John the Baptist, who is teasing the household cat with a goldfinch. The bird is a traditional symbol of...
This is one of Bronzino’s most complex and enigmatic paintings. It contains a tangle of moral messages, presented in a sexually explicit image. Venus, goddess of love, steals an arrow from her son Cupid’s quiver as she kisses him on the lips. Cupid fondles Venus‘ breast, his bare buttocks provoca...
Elderly Saint Elizabeth looks down over the Virgin Mary’s shoulder at her son Saint John the Baptist. The Christ Child removes a garland of flowers from his head, symbolising innocence or childish pleasure. He grasps the reed cross held by the infant Saint John, who wears his camel-skin cloak and...
Christ, bound and crowned with thorns, is condemned to be crucified by Pontius Pilate. ‘Ecce Homo’ (‘Behold the man’) were the words used by Pilate when he presented Christ to the people before the Crucifixion (John 19: 2–5). Pilate, wearing a turban, raises his hand to indicate that he is speaki...
The Virgin Mary sits under a tree in a simple gown of faded rose, her work basket with its iron shears and ball of grey wool at her side. She is trying a grey jacket she has just made on the Christ Child, which may be the seamless coat that legend claims grew with him and for which the soldiers c...
Mary Magdalene leans on a large book and holds the pot of ointment with which she anointed Christ’s feet. According to legend, she retreated into the wilderness of Provence and lived there alone, unreachable by man, and was brought bread by angels who sang to her. In penitence for her former lif...
A young family enjoys a tender moment in a leafy glade. Venus, goddess of love, holds her son Cupid’s bow as his father Mercury, god of wisdom, teaches him to read. Mercury looks down fondly at his child but Venus gazes dreamily towards us and smiles. Unusually, Venus is shown with wings.The pain...
The infant Christ places a ring on Saint Catherine’s finger in her vision of a ‘mystic marriage’. Parmigianino has positioned the gold ring with a blue stone at the very centre of the painting. Beside Saint Catherine is the spiked wheel upon which she was tortured for her Christian faith.The iden...
This was the latest and most advanced of a series of panels that were made to decorate the bedchamber of the Florentine banker Pierfrancesco Borgherini on the occasion of his marriage in 1515. The paintings, commissioned by Pierfrancesco’s father, tell the Old Testament story of Joseph. Five othe...
This portrait of the careworn Pope Julius II (1443–1513) is usually dated to the one-and-a-half-year period during which he wore a beard. He grew it in 1510 as a token of mortification while recovering from a serious illness brought on by the loss of Bologna to the French, and vowed not to shave...
The god Jupiter wished to immortalise his infant son Hercules, whose mother was the mortal Alcmene, so he held him to the breast of his sleeping wife, the goddess Juno, to drink her milk. However, Juno woke. The milk which spurted upwards formed the Milky Way, while that which fell downwards gave...
One of the most famous paintings in the National Gallery, Titian’s Bacchus and Ariadne illustrates a story told by the classical authors Ovid and Catullus. The Cretan princess Ariadne has been abandoned on the Greek island of Naxos by Theseus, whose ship sails away in the distance. Bacchus, god o...
The story of Actaeon is told in the Metamorphoses by the Roman poet Ovid. In Titian’s earlier Diana surprised by Actaeon, painted for King Philip II of Spain in 1556–9 and now jointly owned by the National Gallery and the National Galleries of Scotland, Actaeon disturbs the goddess Diana and her...
The Virgin Mary gazes at the infant Christ who feeds from her breast. The naked child is encircled in his mother’s arms and twists away from us. Our eye is drawn from the Virgin’s delicate fingers, up the line of Christ’s back and to the expression of devotion on her face.Titian appears to be cit...
This is one of a series of four paintings by Veronese that concern the trials and rewards of love, although their precise meanings remain unclear. The compositions are designed to be seen from below, so we know the pictures were intended for a ceiling or a series of ceilings.A couple are united a...
This is one of a series of four paintings by Veronese that concern the trials and rewards of love, although their precise meanings remain unclear. The compositions are designed to be seen from below, so we know the pictures were intended for a series of ceilings.Cupid drags a man in military cost...
Given the title Scorn in 1727, this is one of a series of four paintings by Veronese that concern the trials and rewards of love, although their precise meanings remain unclear. The compositions are designed to be seen from below, so we know the pictures were intended for a ceiling or a series of...
This is one of a series of four paintings by Veronese that concern the trials and rewards of love, although their precise meanings remain unclear. The compositions are designed to be seen from below, so we know the pictures were intended for a ceiling or a series of ceilings.A naked woman with he...
This elegant young woman is Christina of Denmark, the youngest daughter of King Christian of Denmark. In 1538, King Henry VIII of England was looking for a fourth wife, after the death of Jane Seymour the previous year. As Henry’s official court artist, Holbein was sent to Brussels to capture the...
Jean de Dinteville, the man on the left, is shown on his second diplomatic mission to England on behalf of Francis I, King of France. To the right is his close friend, Georges de Selve, Bishop of Lavaur. This portrait was painted at a time of religious upheaval in Europe. Although the pope had re...
Giovanni Agostino della Torre was a distinguished doctor and citizen of Bergamo. He had taught at the University of Padua, and the costume he wears is official or academic dress. In 1510 he was elected prior of Bergamo’s College of Physicians, an office he held until his death.The texts on the tw...
This lavishly dressed sitter, wearing a coat lined with lynx or snow leopard fur, is the Brescian nobleman and humanist Fortunato Martinengo (1512–1552). Ancient gold and silver coins and a bronze oil lamp in the shape of a foot on the table allude to his scholarly interests, and perhaps also to...
This portrait was long known as ‘Il Cavaliere dal Piede Ferito’ (‘The knight with the wounded foot’). But the brace supporting the man’s left foot suggests he was suffering from foot-drop, a fairly common disorder caused by the failure of the ankle muscles. The way in which his plate armour has b...
The traditional Italian title of this portrait, ‘Il Gentile Cavaliere’, means ‘the well-born gentleman’. The prominent sword, a symbol of gentility, and the books suggest that he is a man of action as well as learning. He holds a letter addressed ‘al...Sig’ (To Lord), but the name is now illegibl...
The portrait has long been known as ‘La Dama in Rosso’ – the lady in red. Moroni especially favoured pink or orange-reds. Here he has complemented the colour of the dress in the pinky-orange circles of Verona marble set in the floor. The sitter’s clothes are made of the most luxurious materials a...
This is one of Moroni’s most famous paintings. The dress and the style of the painting suggest that he made it late in his career, around 1570.The cloth merchant or tailor looks up at us, interrupted from his work. His cream and red costume contrasts with the black fabric marked with chalk lines...
An unknown man sits at an inlaid table wearing a large black fur-lined coat and black hat. His eyes do not fix on us but appear to be watching something slightly to our left. He holds the so-called Durazzo Book of Hours by Francesco Marmitta, created about 20 years earlier (now in the Biblioteca...
This is the earliest of very few known portraits by Rosso. It was painted in Florence, while he was in the workshop of Andrea del Sarto. It reveals something of Rosso’s eccentricity, particularly in the strange spiky fingers, the curiously abstract style and the characteristically swift way of wo...
We have interrupted a young man reading; he turns to look over his shoulder at us. The unguarded look creates the impression that we are seeing him as he really is. His identity is uncertain, although he may be the stationer Lorenzo di Matteo Peri, whose family commissioned Andrea del Sarto’s Dis...
A young woman is moving towards an open window or door through which a hilly landscape can be seen. She turns to look back at us over her shoulder, her arm parallel with a stone parapet on which the date 1510 is written. On a metal salver she carries the greyish-green severed head of a man. The w...
In this, one of Titian’s earliest portraits, the sitter turns to look at us over his shoulder and momentarily meets our gaze. Our attention is focused on the raised brow above his right eye, which is positioned midway across the picture. The man’s elbow rests on a parapet and his voluminous quilt...
Although at first sight a calm pastoral scene, this picture is full of activity. A river winds through a rocky landscape, seemingly flowing from the background into the foreground. The serpentine shape in the water on the left is apparently a raft of logs being floated downstream from the forests...
The Virgin sits in front of a dilapidated stable with the naked Christ Child on her knee. Three men offer golden gifts – this is the Adoration of the Kings, a biblical episode imagined as a contemporary event. It’s a chilly winter day: Mary’s dress has fur-lined sleeves and Joseph has a thick-bel...
The Three Kings – Caspar, Melchior and Balthasar – present gifts to the Christ Child in the ruins of a grand building. The Virgin Mary sits on the edge of the manger while Saint Joseph, her husband, comes down a staircase just visible to the left. A crowd of curious onlookers, some wearing turban...
A thin-faced man kneels in prayer, surrounded by three saints. This is Bernardijn Salviati, illegitimate son of a Florentine merchant, and canon of the Collegiate Church of Saint Donatian in Bruges. The saints are, from left to right: Martin of Tours, with the beggar he gave his cloak to on the r...
Christ is stretched on the cross on which he is to be crucified – he looks straight at us to invite our sympathy. At his feet, two soldiers haul on ropes to pull his legs straight as another hammers an iron nail into his feet. A fourth knocks a nail into his right hand.His pale skin and nakedness...
Christ’s body has just been brought down from the Cross and is being prepared for burial – the square door to his tomb is visible in the rock face on the right. His mother embraces him tenderly, while Mary Magdalene anoints his feet. Another woman washes his wounds with water from a brass basin w...
A bearded man gazes out intently from this painting. We don't know who the sitter is, but the cut of his beard and the fashion of his hat and clothes suggest a date towards 1530. The fact that both his doublet and gown are lined with fur probably indicates that the portrait was painted during the...
A young girl, her clothes sewn with hundreds of pearls, gazes out at us. She seems to be playing with a golden object made of concentric rings. This is an armillary sphere, a celestial globe showing the movement of heavenly bodies. Its interlocking circles are echoed in the decoration of her clot...
A dark-haired man gazes to his right in a picture that must once have formed the right wing of a diptych or triptych (a painting made up of two or three parts respectively). He has not joined his hands in prayer, but his right is placed on his heart and he holds a rosary: he is clearly at his dev...
This large altarpiece is crammed with peasants, animals, angels and richly dressed kings and courtiers, come to worship the infant Christ, who sits on his mother’s lap in a palatial but ruined building.Jean Gossart has signed the painting on the hat of Balthasar, the king on the left, and on the...
Saint Mary Magdalene is identifiable here by her halo and her emblem – the pot of ointment with which she anointed Christ’s feet. The pot seems to show scenes from classical mythology. On the lid, one woman carries another through water – perhaps the goddess Diana helping her mother across the st...
In this small arched painting, the Virgin Mary is seated on a grey stone bench surrounded by a wooden frame. She wears a red mantle and uses both hands to gently restrain the naked Christ Child as he leaps forward with his arms outstretched.Once thought to be by a follower or even a late copy aft...
Catharina van Hemessen is the earliest female Flemish painter for whom verifiable work survives – we can see her name here in a Latin inscription in the top right corner. We don't know who the sitter was, but she was evidently wealthy. Her shirt, visible at her neck and wrists, is ornamented with...
Two strikingly ugly men in extraordinary clothing are seated at a table in a panelled interior. One writes in a ledger, the other – his features contorted into a sneer – grasps at a pile of coins. Documents, some of them legible, are piled on a cupboard behind the pair.Marinus van Reymerswale and...
This paintings shows the Virgin as Queen of Heaven: she sits on a gilded throne and two angels hover above her, about to place an extraordinarily delicate crown on her head. The throne is decorated with red and green enamel or glass, and rests on the dais of a small Gothic church. The infant Chri...
The Virgin, seated in a large landscape, is feeding the Christ Child; luggage is scattered around her. To the right, we see a grazing donkey and Saint Joseph with a pack and walking stick. The holy family here rest as they flee to Egypt, driven away by King Herod’s order to execute infants under...
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