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Still Life with Pomegranates and Grapes
Oil on canvas. Ca. 1643
Zurbarán, Juan de
Still Life with Pomegranates and Grapes
Oil on canvas. Ca. 1643
Zurbarán, Juan de

Juan de Zurbarán, the son of Francisco, was one of the most original and gifted Spanish still-life painters of the seventeenth century. This work is based on a similar still life by the artist, dated 1643. It reveals Zurbarán’s ability to recreate textures, his masterly use of effects of chiaroscuro and his interest in complex compositions.

Apples, Figs and Plums
Oil on canvas. Second third of the XVII century
Espinosa, Juan de
Apples, Figs and Plums
Oil on canvas. Second third of the XVII century
Espinosa, Juan de

This work and its pendant (P7926) share innumerable characteristics, notwithstanding their clear differences. They reflect a painting style popular at the Spanish court during the first half of the 17th century: small still lifes for specific clients that enjoyed decorating the rooms in their mansions with images from nature presented in a straightforward, untheatrical mannee.These works generally

Plate with Plums and Morello Cherries
Oil on canvas. Ca. 1631
Hamen y León, Juan Van Der
Plate with Plums and Morello Cherries
Oil on canvas. Ca. 1631
Hamen y León, Juan Van Der

Juan van der Hamen y León´s output alternates between compositionally complex still lifes and works that are smaller in size and constructed more simply, such as this canvas. It depicts a pewter, possibly silver, plate holding a small pile of plums (or sloes), and cherries. As is habitual in this type of work, the plate is placed in the close foreground, sitting on the edge of a stone ledge

Basket with Peaches and Plums
Oil on canvas. 1654
Camprobín, Pedro de
Basket with Peaches and Plums
Oil on canvas. 1654
Camprobín, Pedro de

The works of Pedro Camprobín were the most important alternative in mid-seventeenth-century Seville to the still lifes of Francisco and Juan de Zurbarán, and this allowed him to dominate the market after their deaths. Instead of the geometric rigor and expressive concentration of the Zurbarans, Camprobín preferred compositions in which the objects were laid out in an apparentl

Basket of Flowers
Oil on canvas. 1668 - 1670
Arellano, Juan de
Basket of Flowers
Oil on canvas. 1668 - 1670
Arellano, Juan de

Resting on a stone base, an openwork wicker basket full of flowers is the subject of this painting. The flowers represent an enormous variety of species, enabling a notably rich range of colours and forms, even when the entire arrangement is structured symmetrically. Among the manifold varieties are lilies, tulips, hydrangeas, roses, anemones and carnations, some of which -like the tulips- would h

Garland of Flowers with a Landscape
Oil on canvas. 1652
Arellano, Juan de
Garland of Flowers with a Landscape
Oil on canvas. 1652
Arellano, Juan de

Flower painting experienced its greatest development in the Netherlands -there were both Flemish and Dutch schools- and in the different regions of Italy. Both Northern and Mediterranean artists produced works that became known throughout Europe -especially in Spain, where they had a decisive influence on local artists. The present painting and its pendant (P2507) magnificently exemplify the depen

Flowers in a Glass Vase
Oil on canvas. 1668
Arellano, Juan de
Flowers in a Glass Vase
Oil on canvas. 1668
Arellano, Juan de

This artist was a fundamental referent for Spanish still lifes in general and flower paintings in particular. He was that specialty’s consummate master and its leading light at the height of the Siglo de Oro, producing a plethora of works of unquestionable quality in a field already filled with them. He was also the most important artist with this surname, including close relatives and others. His

Landscape with a Vine
Oil on canvas. Ca. 1645
Hiepes, Tomás
Landscape with a Vine
Oil on canvas. Ca. 1645
Hiepes, Tomás

One of the distinguishing features of Tomás Hiepes´ oeuvre is his thematic versatility and the variety of formal solutions he used to exploit the possibilities of the still-life genre. This work is proof, with one of the subjects most frequently used at the beginning of still-life painting in Spain: grapes. Instead of depicting single bunches of grapes indoors, he shows them in the countrys

Saint Joseph with the Christ Child
Oil on canvas. Ca. 1650
Martínez, Sebastián
Saint Joseph with the Christ Child
Oil on canvas. Ca. 1650
Martínez, Sebastián

Saint Joseph grasps Jesus’s arm to prevent him from taking fruit from the basket. This action is loaded with meaning, given the sacrificial and Eucharistic significance of both the Child’s violet tunic and the grapes and pomegranates that predominate in the fruit basket. The painter, who is now getting better known, worked in Jaen and at Court in Madrid in the mid-seventeenth century.

Flower Vase
Oil on panel. 1689 - 1691
Pérez, Bartolomé
Flower Vase
Oil on panel. 1689 - 1691
Pérez, Bartolomé

Esta obra y su pareja (P06397) están realizadas sobre tabla, lo que resulta poco habitual en la pintura de flores realizada en España, y el fondo es dorado, algo muy poco corriente. Por otra parte, la gama vegetal es parecida y la descripción de las flores guarda muchos puntos de contacto, como se aprecia comparando los tulipanes y las rosas. Asímismo, existe una clara relación estilística con otr

Still Life with Dead Bird
Oil on panel. 1651
Espinosa, Juan de
Still Life with Dead Bird
Oil on panel. 1651
Espinosa, Juan de

The great charm of this still life has evidently long been apparent to lovers of painting, since it is first recorded in the collection of Gaspar de Haro, later VII Marqués del Carpio (1651), who was one of the most distinguished aristocratic picture collectors of his day. Its size is clearly a factor; the intimate scale is particularly alluring. Indeed, the appeal to collectors of small st

Apples
Oil on canvas. Second third of the XVII century
Espinosa, Juan de
Apples
Oil on canvas. Second third of the XVII century
Espinosa, Juan de

This work and its pendant (P7925) share innumerable characteristics, notwithstanding their clear differences. They reflect a painting style popular at the Spanish court during the first half of the 17th century: small still lifes for specific clients that enjoyed decorating the rooms in their mansions with images from nature presented in a straightforward, untheatrical mannee.These works generally

Basket of Flowers
Oil on canvas. Ca. 1670
Arellano, Juan de
Basket of Flowers
Oil on canvas. Ca. 1670
Arellano, Juan de

Throughout his career, Juan de Arellano executed flower pieces of a horizontal format that represent bouquets in open weave wicker baskets. During the last decade of his career, he painted a number of these works on a large scale that constitute the apogee of his flower pieces of this type. The basket motif also appears in a number of other flower paintings from the period, such as Antonio Ponce´s

Garland of Flowers with a Landscape
Oil on canvas. 1652
Arellano, Juan de
Garland of Flowers with a Landscape
Oil on canvas. 1652
Arellano, Juan de

Flower painting experienced its greatest development in the Netherlands -there were both Flemish and Dutch schools- and in the different regions of Italy. Both Northern and Mediterranean artists produced works that became known throughout Europe -especially in Spain, where they had a decisive influence on local artists. The present painting and its pendant (P2508) magnificently exemplify the depen

Vase of Flowers with a Triumphal Chariot seen frontally
Oil on canvas. 1643
Hiepes, Tomás
Vase of Flowers with a Triumphal Chariot seen frontally
Oil on canvas. 1643
Hiepes, Tomás

Flower painting quickly became a sub-genre of still life painting in which several Spanish artists became specialists. Hiepes was an assiduous proponent throughout his career and he specialized in flower vases like the present one and its pair (P7913), which look like the work of no other Spanish painter. They are quite large works characterized by their monumentality and symmetry. Instead of seek

Saint Jerome
Oil on canvas. 1643
Pereda y Salgado, Antonio de
Saint Jerome
Oil on canvas. 1643
Pereda y Salgado, Antonio de

Saint Jerome is depicted meditating on the Last Judgment, as indicated by the print in the book, which reproduces a model by Albrecht Dürer. He is surrounded by various vanitas, such as the skull resting on some books and the stone with which he struck his chest. A pen and inkwell indicate his dedication to writing. Jerome was one of the most popular Saints in baroque Spain. His iconography m

Landscape with Shepherds
Oil on copperplate. 1600 - 1650
Collantes, Francisco
Landscape with Shepherds
Oil on copperplate. 1600 - 1650
Collantes, Francisco

Dos campesinos, después de desuncir sendos carros de sus respectivas yuntas de bueyes, descansan a la orilla de un arroyo. Les rodea un paisaje ondulado, de horizonte amplio y gran desarrollo del cielo. Un caserío en segundo término, un castillo al fondo y una delicada gradación de la intensidad y tonos de la masa vegetal y de las gamas cromáticas sirven para construir de manera verídica y eficaz

Bronze Vase with Roses
Oil on canvas. 1640 - 1660
Camprobín, Pedro de
Bronze Vase with Roses
Oil on canvas. 1640 - 1660
Camprobín, Pedro de

Flower paintings were one of the most popular forms of still lifes in Spain as their attractive and varied appearance allowed for infinite combinations of different forms of plant life that could in turn be expanded with the addition of animals, views of gardens and other related objects, ornamental and architectural elements and landscape. The finest works of this kind present impressive composit

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