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This painting is both beautiful in appearance and enigmatic on account of its problems of attribution, its authorship having fluctuated between several artists, all belonging to the aesthetic environm [+]
Falcone painted the figures in this painting; the Neapolitan specialist Luca Forte probably painted the vase of flowers on the left. It looks like a portrait gallery of real people, one of whom -the b [+]
This painting depicts the façade of Saint Peter’s as it was designed by the architect Carlo Maderno and before the re-modelling undertaken by Gian Lorenzo Bernini, who had the clock tower on th [+]
A satyr fills the wineglass of a fat, grotesque Silenus who smiles at another satyr seen from behind. This comic treatment of the classical myth derives from Ribera with whom Fracanzano worked from ar [+]
The subject of the angelic consolation of Saint Francis became popular in the second half of the sixteenth century as a result of the Catholic Church´s renewed appreciation of his mystical experiences [+]
These four paintings of flowers and sumptuary objects (P250, P251, P252 and P3239) are part of those sent from Rome to Madrid by Mario Nuzzi and other artists for the decoration of the Buen Retiro Pal [+]
Trained in the Roman Mannerist tradition, Giuseppe Cesari - known as the Cavaliere d’Arpino - evolved over his career towards a more naturalist language while retaining the artificial grace that chara [+]
Giuseppe Recco, a member of one of the most famous families of Neapolitan still-life painters in the seventeenth century, was born in Naples on 12 July 1634. His vast output was consistently high in q [+]
This Old-Testament scene (Tobias 11, 1-19), illustrates the moment when, following the Archangel Raphael´s instructions, Tobias places fish liver on his blind father´s eyes. Tobias the father and Tobi [+]
Bernardo Strozzi was one of Genoa´s most outstanding early Baroque artists, and his work exemplifies the qualities and evolution of painting in the Ligurian capital. Moreover, his practice forged a br [+]
An inquiring and original artist, as well as an extraordinary draughtsman, Giovanni Benedetto Castiglione travelled throughout much of Italy (besides his native Genoa, he worked in Rome, Mantua, Venic [+]
The painting was given to Philip IV by Cardinal Francesco Barberini in 1656. It is unusual for being painted on a vitreous paste called aventurine, which acts as the background to the composition. It [+]
The Bible story (Samuel 1:17) depicted here corresponds to the moment when, as a young shepherd, David kills Goliath, the giant, with his sling and cuts off his head to triumphantly exhibit it. The ep [+]
The lone figure of Saint Stephen is shown on the right of the composition with his hands crossed on his breast and his eyes raised to the heavens as he is stoned by his executioners. Cavallino was a N [+]
The story of the Museo del Prado’s Roman Soldiers at the Circus is similar to that of Roman Athletes (P92) and to Andrea di Lione’s Elephants at a Circus (P91). This artist passed through Falcone’s wo [+]
The depiction of fruit was one of the specialities of this versatile Roman artist, who also painted battle scenes -his most appreciated works in his own lifetime- genre scenes and leafy orchard garden [+]
