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Saint Joseph’s Dream
Oil on canvas. Ca. 1697
Palomino y Velasco, Acisclo Antonio
Saint Joseph’s Dream
Oil on canvas. Ca. 1697
Palomino y Velasco, Acisclo Antonio

Fire
Oil on canvas. Ca. 1700
Palomino y Velasco, Acisclo Antonio
Fire
Oil on canvas. Ca. 1700
Palomino y Velasco, Acisclo Antonio

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
Oil on canvas. Ca. 1700
Palomino y Velasco, Acisclo Antonio
Air
Oil on canvas. Ca. 1700
Palomino y Velasco, Acisclo Antonio

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

The Infant Saint John the Baptist
Oil on canvas. Early XVIII century
Palomino y Velasco, Acisclo Antonio
The Infant Saint John the Baptist
Oil on canvas. Early XVIII century
Palomino y Velasco, Acisclo Antonio

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

The Adoration of the Shepherds
Oil on canvas. Early XVIII century
Palomino y Velasco, Acisclo Antonio
The Adoration of the Shepherds
Oil on canvas. Early XVIII century
Palomino y Velasco, Acisclo Antonio

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 Immaculate Conception
Oil on canvas. Ca. 1712
Palomino y Velasco, Acisclo Antonio
The Immaculate Conception
Oil on canvas. Ca. 1712
Palomino y Velasco, Acisclo Antonio

Allegory of Magnanimity
Pencil, Pencil ground, Grey-brown ink, Grey-brown wash on laid paper. 1683
Palomino y Velasco, Acisclo Antonio
Allegory of Magnanimity
Pencil, Pencil ground, Grey-brown ink, Grey-brown wash on laid paper. 1683
Palomino y Velasco, Acisclo Antonio

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
Black chalk, Red chalk on dark yellow paper. Late XVII century
Palomino y Velasco, Acisclo Antonio
The Lady of Sorrows
Black chalk, Red chalk on dark yellow paper. Late XVII century
Palomino y Velasco, Acisclo Antonio

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

Saint Michael defeating Satan
Pencil, Pencil ground on yellow laid paper. Ca. 1700
Palomino y Velasco, Acisclo Antonio
Saint Michael defeating Satan
Pencil, Pencil ground on yellow laid paper. Ca. 1700
Palomino y Velasco, Acisclo Antonio

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

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