The Piedad with Canon Liuís Desplà is one of the unacknowledged masterpieces of the European Renaissance by Bartolome Bermejo, which is characterized by naturalism and traditional Flemish art styles.

[3] Bermejo distinguished his subject matters with a series of deeply Spanish artisanal techniques and depicts each object with bright colors, transparency, polished gloss, gleaming metal, and splendid stone, gold, and silver materials.

[1][4] Desplà intended to portray and publicize his authoritative position as an Archdeacon to demonstrate his piety by kneeling on the right side along the Virgin Mary and the death of Christ by showing his devoutness and remorse within the scene.

The unique saddened expression of the Virgin Mary shows a good display of her half-closed eyes, slightly parted lips, and downward curved corners of her mouth.

[4] The same applies to the landscape, visualizing all living animals, insects, mountains, valleys, and other towns and plants' life subject matter with highly detailed depictions.

[1] Within the landscape of the Piedad, the painting has dramatic elements to give a contrasting meaning to the environment and subject matters that Bermejo has embedded into the scene.

[2] Often Bermejo borrows some from northern works of art reference by two artists, Jan van Eyck’s Mystic Lamb and Hans Memling’s The Life and Passion of Christ.

In comparison, Memling’s painting has a different focus, portraying the visual details and architectural structure of Jerusalem with the massive amount of people in every area and showing Christ exiting while carrying the cross on his shoulder.