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#Eugenio Cajes
atna2-34-75 · 9 months
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Cornelis Cornelisz van Haarlem, The Fall of Titans (1588-90)
Guido Reni, The Fall of Giants (anonymous copy, late 17th c.)
Eugenio Cajes, The Fall of the Rebel Angels (1605)
Statens Museum for Kunst, Copenhagen
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the-evil-clergyman · 3 years
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The Fable of Leda by Eugenio Cajés (1604)
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“The Fall Of The Rebel Angels”  by  Eugenio Cajes.
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Mirra, kadzidło i złoto czyli adoracja, pragnienie i zachwyt.
Mirra, kadzidło i złoto czyli adoracja, pragnienie i zachwyt.
Złoto dla Króla, kadzidło dla najwyższego Kapłana i mirra, najcenniejsze zioło wschodu, ale najbardziej gorzkie. Bardzo pięknie mówił dzisiaj o pragnieniu Boga papież Franciszek. Słuchałam go z zainteresowaniem. Po raz pierwszy mówił z taką mocą i zachwytem. Mówił o mędrcach, którzy pragnęli bo wpatrywali się w niebo. Byli pełni odwagi i wierzyli, że niebo jest stokroć bardziej zachwycające od…
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spanishbaroqueart · 12 years
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Eugenio Cajés
Saint Raymond Nonnatus Being Nourished by the Angels, c. 1630
Saint Raymond Nonnatus (Spanish: San Ramón Nonato) was a saint from Catalonia (1204–1240). His surname (Latin: Nonnatus, "not born") refers to his birth by Caesarean section, his mother having died during childbirth.  He is the patron saint of childbirth, midwives, children, pregnant women and priests who want to protect the secrecy of confession.
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spanishbaroqueart · 12 years
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Eugenio Cajés
Saint Joachim and Saint Anne Meeting at the Golden Gate (c.1605)
Museo de la Real Academia de Bellas Artes de San Fernando, Madrid
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spanishbaroqueart · 12 years
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Eugenio Cajés
The Fall of the Angels (1605)
Statens Museum for Kunst, Copenhagen
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spanishbaroqueart · 12 years
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Eugenio Cajés
Triumph of the Cross (c. 1613-34)
The steep perspective of the cross and the suggestion of heaven's spatial infinity indicate that Eugenio Cajés probably made this square drawing as a preparatory study for a ceiling painting, probably in a chapel dedicated to the cross. In his late work, Cajés characteristically employed these graceful figures, these rhythmically flowing forms, and this chiaroscuro effect in brush and wash. His convincing illusionism in rendering the cross required extensive knowledge of perspective, which he may have gained from his study of Italian architecture.
[via The J. Paul Getty Museum]
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spanishbaroqueart · 12 years
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Eugenio Cajés
The Death of Adonis
Preparatory Drawing · Museo del Prado, Madrid
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spanishbaroqueart · 12 years
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Eugenio Cajés
The Presentation of the Virgin Mary
Musée du Louvre, Département des Arts graphiques
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spanishbaroqueart · 12 years
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Eugenio Cajés
Study of a Warrior (verso)
Metropolitan Museum of Art, New York
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spanishbaroqueart · 12 years
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Eugenio Cajés
Saint John the Evangelist (recto)
Metropolitan Museum of Art, New York
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spanishbaroqueart · 12 years
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Eugenio Cajés
Saint James the Greater
ca. 1629 - Museo del Prado, Madrid
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spanishbaroqueart · 12 years
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Eugenio Cajés
Saint Sebastian
Museo del Prado, Madrid
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spanishbaroqueart · 12 years
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Eugenio Cajés
The Holy Family
Museo del Prado, Madrid
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spanishbaroqueart · 12 years
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Eugenio Cajés
The Holy Family
Preparatory Drawing
Museo del Prado, Spain
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