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The allegory takes place in a setting of dark foliage that partly conceals a grotto -the forge of Vulcan- while the sea horizon on the other side is dominated by the crater of a volcano. In the foreground Venus, accompanied by Cupid and some putti, pays a visit to her husband´s forge. The work belongs to a series of the Four Elements executed by several painters for the Buen Retiro palace.
Air, one of the four elements, is embodied by the goddess, Juno, who sits in a carriage drawn by the peacocks that customarily symbolize her. She is accompanied by the nymph, Iris, who frames the scene with her marvelous rainbow. On earth, under a leafy tree, two cupids play with soap bubbles, alluding to the ethereal nature of the element in question. Along with paintings of the other elements ma
Las representaciones de San Juan Bautista como niño tienen su origen en el Renacimiento italiano, pero los pintores de ese momento emparejaron generalmente su figura infantil con la del Niño Jesús, dentro de composiciones en las que casi siempre aparecía también la Virgen y se ponía de relieve una tierna relación entre los dos infantes. Andando el tiempo, los artistas comenzaron a dar un tratamien
Composición dividida en dos partes: la inferior o terrenal, con los personajes de la Virgen, el Niño, San José y los pastores con ofrendas y la superior o celestial, con un grupo de ángeles portadores de una filacteria con el lema "Gloria in excelsis Deo". Se observa un desequilibrio entre el tamaño de los ángeles y el de los personajes de la parte inferior, pero no es el único caso en el que Palo
The drawing depicts an allegorical figure seated on a footstool, dressed in armour and wearing a helmet. Meanwhile, she is holding a sceptre in her right hand and a round shield in her left. A lion appears behind her. In fact, it is a work typical of Palomino, a preparatory drawing (with some variants) for the figure that symbolises the Refugium pecatorum (‘Refuge of Sinners’) in the cupola interi
The Lady of Sorrows is depicted at more than half-length, with her hands crossed on her chest and a large sword on it. Her head is bowed, and her eyes are half-closed. It shares similarities that vary slightly with the corresponding canvas in the chapel devoted to the Blessed María Josefa of Santísimo Sacramento in Azcoitia, which is attributed with certainty to Palomino. Its extraor
This drawing depicts an armed Saint Michael, standing on clouds, with a round shield and a flaming sword that plunges the devil into hell.The work is very typical of Palomino. It was a preparatory drawing for one of the pendentives in the parish church of Dos Barrios (Toledo) brought to light by Pérez Sánchez. It most likely dates from around 1700. The broken, nervous stroke is also
