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El pintor ha representado a una joven semidesnuda apoyada sobre cojines y paños de brocado, rodeada por tres niños. A su lado aparece el cisne en que Júpiter se ha transformado para seducir a la mucha [+]
Titian´s first contribution to the Camerino d´Alabastro was prompted by the death in October 1587 of Fra Bartolommeo from whom Alfonso d´Este had commissioned a Worship of Venus one year previously an [+]
Having delivered the Bacchus and Ariadne in 1523 Titian then painted The Andrians, also inspired by Philostratus (Imagines I, 25). The scene is set on the island of Andros, a place so favoured by Bacc [+]
It was Ballarin who discovered what is probably the Prado´s finest painting by Jacopo, and one of his most impressive late works, hanging in the Sala de Juntas of the Universidad de Barcelona, where i [+]
Like its pair, Cephalus and Procris (Strasbourg Museum, inv. 634, oil on canvas, 162 x 185 cm), this canvas illustrates a passage from the Metamorphoses by the Roman poet Ovid. Both stories involve lo [+]
Venus, the Roman goddess of Love and Beauty, is accidentally wounded by one of her son Cupid´s arrows, which triggers her passion for Adonis. This love story ends with the tragic death of the he [+]
The Elements, the last of the series of four canvases conceived by Jacopo after the Noah cycle and the Seasons, is dated around 1576-1577. There are three known incomplete series produced by the botte [+]
The frieze arrangement of the figures places this work in the painter`s classical phase, which began in 1594, the same year as the date on this painting. In Van Thiel`s view, it could be the picture w [+]
Representación alegórica del triunfo del Amor que lleva a Júpiter con los brazos atados en una suntuosa carroza tirada por cuatro caballos blancos. Entre las figuras que acompañan a la carroza, a la d [+]
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Hunting in the woods, Acteon stops on the banks of a stream when he sees Diana and her nymphs bathing nude on the opposite bank. Fascinated by their beauty, he observes them with a challenging and amu [+]
On a number of occasions, Peter Paul Rubens partially overpainted finished pictures. He did this to paintings by his own hand, such as Nymphs and Satyrs (P1666), which he retouched and enlarged twenty [+]
Goddess of grains and the harvest, Ceres holds some corn cobs in her right hand while, with the left, she holds a horn of plenty. Two nymphs fill the cornucopia with fruits, symbolizing the Earth´s ge [+]
Crowned with wheat, as goddess of the Earth, Ceres holds a horn filled with fruit, a symbol of the abundance and fertility that characterizes her. She receives homage from a group of peasants, who bea [+]
As goddess of the Earth and agriculture, Ceres is depicted wearing a bundle of wheat spikes on her head. Beside her, Pan, the god of shepherds and herds, has a crown of oak leaves. Ceres symbolizes cu [+]
The scene here unfolds in the foreground, which is occupied by a large rocky outcrop and trees and on the right opens onto a luminous landscape enclosed by mountains in the background. The spatial tra [+]
This mythological scene is drawn from the Metamorphoses of Roman poet Publio Ovidio Nason, one of the texts on ancient mythology that had the greatest intellectual impact on 17th-century Flemish artis [+]
From the 1857 Inventory of the Royal Museum through 2002, this work was listed as Diana and Endymion Discovered by a Satyr, but L. Ruiz has demonstrated that the scene is Diana and a Nymph Discovered [+]
