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A Blind Hurdy-Gurdy Player
Oil on canvas. 1620 - 1630
la Tour, Georges de
A Blind Hurdy-Gurdy Player
Oil on canvas. 1620 - 1630
la Tour, Georges de

The blind man appears in profile playing his hurdy-gurdy, a stringed instrument with which he earns his living. Despite his miserable state, La Tour depicts him with considerable dignity, dressed in a cape that hides a chestnut vest and salmon-colored trousers. His face shows the mark of time, with tanned skin, deep wrinkles and an unkempt beard. His strong hands seem out of place for a musician b

Saint Cecilia
Oil on canvas. After 1611
Grammatica, Antiveduto Della
Saint Cecilia
Oil on canvas. After 1611
Grammatica, Antiveduto Della

The Roman saint Cecilia was martyred for her faith. As the patron saint of music she is normally depicted playing an instrument, crowned with flowers and accompanied by the angel who defended her purity. The pronounced contrasts of light in this scene reveal the influence of Caravaggio that was evident in Grammatica’s work from 1605 onwards.

The Birth of Saint John the Baptist
Oil on canvas. Ca. 1635
Gentileschi, Artemisa
The Birth of Saint John the Baptist
Oil on canvas. Ca. 1635
Gentileschi, Artemisa

This canvas is one of a series of scenes from the life of Saint John the Baptist commissioned in Naples from Artemisa Gentileschi, Massimo Stanzione (The Birth of John the Baptist announced to Zacharias (P256), The Preaching of Saint John the Baptist (P257), The Beheading of Saint John the Baptist (P258) and Saint John the Baptist leaving his Father’s House (P291) and a now lost one by Paolo Finog

Bird Seller
Oil on canvas. 1615 - 1620
Pensionante de Saraceni
Bird Seller
Oil on canvas. 1615 - 1620
Pensionante de Saraceni

A bird seller is tricked by a young man who shows him some coins with the right hand while robbing a rooster with the left. While the nationality of this artist is unknown, he seems to have learned his craft in Italy as his work shows a preference for the naturalistic approach of Caravaggio (1571-1610), and for some concepts of the Venetian school. His curious nickname comes from a certain similar

The Denial of Saint Peter
Oil on canvas. 1625 - 1626
Tournier, Nicolas
The Denial of Saint Peter
Oil on canvas. 1625 - 1626
Tournier, Nicolas

This is one of the most complex compositions by Nicholas Tournier, a French follower of Caravaggio. On the right the Apostle denies Christ three times while on the left and remote from the scene, four soldiers play dice. Tournier worked in Rome until 1626 when he returned to France, where he died in 1639.

The Raising of Lazarus
Oil on canvas. Ca. 1616
Ribera, Jusepe de, lo Spagnoletto
The Raising of Lazarus
Oil on canvas. Ca. 1616
Ribera, Jusepe de, lo Spagnoletto

Having been told of the death of his disciple Lazarus, Christ went to his grave in Bethany and commanded him to arise from the tomb. Lazarus arose, “bound hand and foot with graveclothes: and his face was bound about with a napkin”. Among the witnesses to this event were Lazarus’ sisters Martha and Mary. Ribera emphasised the dramatic aspect of this subject, depicting a wide range of emotional sta

Saint Jerome writing
Oil on canvas. Ca. 1615
Ribera, Jusepe de, lo Spagnoletto
Saint Jerome writing
Oil on canvas. Ca. 1615
Ribera, Jusepe de, lo Spagnoletto

Saint Jerome, who translated the Bible into Latin, is shown here as both an intellectual and penitent. Ribera painted this canvas around 1615. Together with The Raising of Lazarus, also in the Prado (P-7768), it casts light on his early career at a time when he was particularly influenced by caravaggesque models.

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