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This is one of the few winter scenes painted by Hendrick Dubbels still preserved today. In the Museum`s catalogues it is described as a scene with skaters, although only three of the many characters d [+]
In addition to the Roemer goblet, other glasses common in this kind of monochrome still life presented here include the Berkemeyer, in this case tipped over and broken, and the delicate Façon-d [+]
In the past various authors have expressed their scepticism about the attribution of the painting to Rembrandt. However, the Rembrandt Research Project includes it in the Corpus of 1986 as an original [+]
This still life forms part of the group of paintings Vroom dubbed monochrome banketjes or monochrome still lifes which were started in 1629 by Willem Claesz. Heda, but which Pieter Claesz. cultivated [+]
This Adoration of the Shepherds, signed and dated 1625, was executed in the final stage in Wtewael`s career. The intellectual approach to the scene (St Luke 2:15-18), which derives its emotive force f [+]
The date of this painting has been the subject of critical debate for over a century. The 1889 edition of the Prado catalogue states that it was signed but fails to mention a date. The 1910 version de [+]
This painting entered the museum as a work by Claude Lorrain, but in 1843, it appeared in the catalog as an original by Jan Both, an attribution that has been maintained in posterior catalogs and is a [+]
Steenwijck brings to the vanitas a genre in which he specialised, according to the surviving inventories -the compositional structure, scheme, colour range and lighting characteristic of the so-called [+]
Both the royal inventories and Stchavinsky (1912) identify this scene as the story of Hecuba, wife of Priam of Troy. Wichmann (1923) disagrees, believing it to be the Finding of the bodies of Hero and [+]
The painting belongs to the type of still life designated by Vroom as monochrome banketjes, pieces first executed by Heda towards the end of the 1620s that became very popular in the Netherlands and a [+]
This painting was first included in the 1873 edition of the Museo del Prado catalogue, which states that it was rescued from the fire at the Alcázar Palace in Madrid in 1734. However, it is not [+]
This painting entered the Prado as an original by Philips de Koninck (1619-1688), though in the 1873 catalogue it is attributed to Salomon Koninck (1609-1656). Adecade later, in the 1885 edition, Bred [+]
Recent restoration has enabled a much better appreciation of this picture, since the thick layer of oxidised glaze that previously covered the surface made it impossible to judge the space and depth o [+]
The subject of this painting is taken from the Gospels (John 20:24–28). The scene depicts the moment when Thomas, seeking proof of the Resurrection, places his fingers in the wound in Christ’s right s [+]
The young Christ is shown seated among the priests of the Temple who are listening to him attentively and with astonishment (Luke 2: 41-50). This is one of Bramer’s characteristic interiors, painted w [+]
This is a copy of the portrait of Salonia Matidia (AD 68-119) depicted as the Muse of Tragedy. The style of the fringe, visible under the large wig, corresponds to the Hadrianic period. The Roman orig [+]
This Muse is a copy of a Roman herm, in this case depicting Comedy with vine tendrils in her hair and the features of the Roman noblewoman Salonia Matidia (68-119 d. C.), like that of Tragedy (E000420 [+]
