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Herod and Herodias appear at the right of the composition. Sitting at a table painted in foreshortened perspective, they look on—the king with a stupefied expression—as Salome presents them with the p [+]
Judith stands with a sword in her right hand. She rests her left on Holofernes´s head. This is a faithful copy of a composition by Guido Reni, which was much appreciated in its time and often re [+]
In 1724, Antonio Palomino, who had been Juan Carreño de Miranda’s disciple, included his teacher’s biography in his Parnaso español pintoresco y laureado. Their close relationship makes [+]
This is the earliest surviving work signed and dated by Carreño, and its style is still closely linked to masters from the first half of the century. Palomino, who knew and had contact with Car [+]
Today, Juan Carreño, who was appointed Chamber Painter to the King in 1671, is best remembered for his portraits from the court of Charles II, but, in fact, most of his paintings are devotional [+]
Along with the Virgin of Atocha (P5536), this is one of the most interesting examples of religious paintings known as divine trompe l’oeil works, in which a famous votive sculpture is replaced with it [+]
After the death of Philip IV in 1665, his widow Mariana (1634-1696) became regent. She is depicted here as both widow and regent in the Hall of Mirrors in the Alcázar in Madrid. The writing imp [+]
This painting entered the Museo del Prado from the Lodgings of the Monastery of El Escorial, where it hung in 1847. At that time, José de Madrazo petitioned the religious order to have it “tran [+]
The son of Felipe IV (1605-1665) and Mariana of Austria (1634-1696), Carlos II (1661-1700) was the last King of the Hapsburg Dynasty in Spain. He appears dressed in black, with the chain of the Golden [+]
Charles II stands in the Alcázar Palace’s Hall of Mirrors alongside a porphyry table held up by two of Mateo Bonuccelli’s gilded bronze lions. The monarch is dressed in black silk, as was custo [+]
Charles II stands in the Alcázar Palace’s Hall of Mirrors, alongside a porphyry table held up by two of Mateo Bonuccelli’s gilded bronze lions. The monarch is dressed in black silk, as was cuto [+]
The scene takes place on a set of richly carpeted steps. A dark curtain in the background opens on the right to show a Solomonic column and some sketchy architectural elements that suggest an indoor s [+]
Here we are presented with a young man, elegantly dressed in black, standing within a landscape beside a horse whose mane is richly adorned with blue ribbons and bows. The man wears his hair very long [+]
In the courts of Spain´s nobility, the sixteenthcentury fascination with oddities of the natural world persisted into the seventeenth and was manifested in, among other things, an interest in people w [+]
Francisco Bazán was a buffoon at the court of Charles II between 1676 and 1689. Carreño, who was reaching the end of his career when he painted this work, depicts the sitter as if delive [+]
The most characteristic depiction of Felipe IV towards the end of his life is a half-length one, wearing dark clothes with the emblem of the Order of the Golden Fleece around his neck and standing out [+]
After the death of Velázquez, Carreño showed himself to be the artist most worthy of continuing the depiction of monsters, jesters, and dwarves that inhabited the Spanish court. Inventor [+]
This surprising canvas presents the image of the Virgin of Atocha, just as she was worshipped on her altar at the Dominican convent dedicated to her on the outskirts of Madrid. This type of votive ima [+]
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