Documented in Burgos around 1480 -1500 · Castilian Hispano-Flemish painting

Saint John presents a donor while the Virgin rises and receives her crown: portrait, devotion and celestial splendor respond to each other.

Documented in Burgos between 1480 and 1500, Diego de la Cruz is one of the few painters known by name from the Burgalese Hispano-Flemish tradition. Its origin remains uncertain; some researchers have assumed him to be Flemish because of his precise knowledge of northern painting. His style is rebuilt thanks to Saint Francis receiving the stigmata of the San Esteban de Burgos church, documented in 1487 -1489, and to the panel signed Christ between the Virgin and Saint John. He also collaborated with Gil de Siloé at the great altarpiece of Miraflores, documented in 1487 -1489, and with the panel signed Christ between the Virgin and Saint John. He also collaborated with Gil de Siloé at the great altarpiece of Miraflores, documented in 1487 -1489, and with the panel signed Christ between the Virgin and Saint John. He also collaborated with Gil de Siloé at the great altarpiece of Miraflores, a sign of a workshop included in the city's prestigious commissions. Saint John the Baptist and a donor, painted around 1480 -1485, associated the monumental saint in the humble presence of the sponsor. The Assumption and Coronation of the Virgin, carried out around 1497 with the workshop, superimposes elevation and coronation. Eight angels are distributed around Mary; its slight movement to the right breaks the strict symmetry of the iconographic type. The oil technique, the fabrics and the precision of the faces reflect the Flemish models for a Castilian clientele. The "Diego de la Cruz" selection notably compares Saint John the Baptist and a donor and The Assumption and the Coronation of the Virgin. Its reading favors the material.

Diego de la Cruz transforms Flemish precision into Castilian presence: detail serves the inventory less than the relationship between donor, saint and salvation.