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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 depicted here are actually skating, and one is putting on skates. The 1873 and 1878 editions state that, despite the signature, some consider this to be by Bonaventura Peeters; the 1885 publication men
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-de-Venise wineglass, in fashion at the time and likewise made in the Netherlands. Also featured is an exquisitely decorated silver goblet. Alongside them is a knife with a sheath and an open clock that
The original composition was enlarged on the right side with a section of wood of around 10.5 cm, glued against the grain. During the restoration carried out in 1994 it was noted that the preparation and execution of this section differed from the rest of the composition, indicating that it was added later. Isabella Farnese`s seal, printed on the back, can be found on the original panel but not in
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 with equal mastery, to the point that these two painters are considered its leading exponents. The work is dated 1637 and signed with Claesz´s typical monogram and the enigmatic word TÉNESIUS I
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 from the refined rhythm of contrasting movements and lights, underlines the painter`s faithfulness to the Mannerist aesthetic he learned during his youth in Italy and France.The compositional structure
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 describes it as being signed and dated in 1620. The question is not addressed in subsequent publications until that of 1985, which refers to it as being signed and dated in 1630, the year that is again
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 monochrome banketjes or monochrome still lifes of Willem Claesz. Heda (P2754, P2655 and P2756) and Pieter Claesz. (P2753). Accordingly, the objects are arranged on a simple wooden table that is half
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 abroad, as illustrated by the fact that there were two in the inventory of Rubens´s property. There are sufficient grounds to interpret these compositions as moralising, religious or allegorical works.
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 listed in the inventory of the salvaged works. Hymans assumes it to be an original by Carel Fabritius (1614-1654) or even by Rembrandt (1606-1669). It is the work of a Caravaggist of Utrecht, possibl
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, Bredius ascribes it to Pieter Fransz. de Grebber (1595/1605-1652/53), an attribution that is accepted by the Prado, albeit with reservations, as of the 1933 catalogue, where the previous title, Portraits
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 of the composition. As a result, the cockerel´s body is no longer outlined against the dark, plain background, but seen hanging from a string above a table inside some kind of architectural space -an a
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 side. This work has been ascribed to Matthias Stom’s Sicilian period, when he combined certain northern European stylistic qualities -for example, the accurate folds of the robes and the expressiveness
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 with pronounced chiaroscuro, in which the influence of Caravaggio and Adam Elsheimer is evident. During the years he lived in Rome Bramer was known as “Leonardo della Notte” due to his preference for s
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 original of which it is a copy was found around 1735 at Hadrian’s Villa together with the herm of Comedy (E000883). The originals of both Muses were found during excavations led by Count Giuseppe Fede at
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). The originals of both Muses were found during excavations led by Count Giuseppe Fede at Hadrian’s Villa and are now in the Musei Vaticani.
