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This painting entered the Museum as an original work by Jan Both, attribution that has been maintained in the catalogues until the present day. In 1973 Valdivieso identifies it as the picture listed in the 1701 inventory of the Palace of the Buen Retiro and retains the ascription to Jan Both, which is supported by Luna (1984) and Capitelli (2005). Burke (1976) refers to it without an attribution.B
This painting entered the museum as a work by Claude Lorrain, but in 1843, it appeared in the catalog as an original by Jan Both, an attribution that has been maintained in posterior catalogs and is accepted without argument by specialists.Drawn from Acts (VIII: 26-38), the subject is the conversion and baptism of Queen Candace of Ethiopia by the Apostle Philip the Eunuch, who did so while returni
This painting entered the Museum`s holdings as an original work by Jan Both, an attribution that has been maintained in subsequent catalogues and accepted without question by specialists. On the basis of its handling of light, Burke (1976) relates it to two of Claude Lorrain`s landscapes for the Buen Retiro, Moses saved from the Waters and Landscape: The Archangel Raphael and Tobias (Prado, P2255)
The present painting entered the Museum as an original work by Jan Both. This attribution is maintained in subsequent catalogues and accepted by all authors. This landscape is an exception among those commissioned in Rome for the Palace of the Buen Retiro in that it is the only one that depicts a wild landscape. In addition, it does not extend into the distance; rather, the background is abruptly
The painting entered the Museum as an original work by Jan Both, an attribution that has been maintained in subsequent catalogues and which is also supported by Valdivieso (1973) and Barghahn (1986). Steland ascribes it, with reservations, to Herman van Swanevelt. Following the recent cleaning of the picture, the attribution to Jan Both would appear to be correct. The handling of the leaves of the
The present painting may be considered a companion piece to the previous work on account of its format, size, compositional scheme and subject matter. It entered the Museum`s holdings as an original work by Jan Both. This attribution is maintained in subsequent catalogues and backed by Valdivieso (1973) and Barghahn (1986). Steland (forthcoming) ascribes it, with certain reservations, to Herman va
