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Earth
Oil on canvas. XVI century
Vos, Martin de
Earth
Oil on canvas. XVI century
Vos, Martin de

Este cuadro formó parte de una serie de los Cuatro Elementos y está documentado en el inventario de 1794 del Palacio del Buen Retiro. Las pinturas se localizarían en una estancia próxima al Jardín de Verano, donde tenía habitación el conde de Altamira, alcaide del Real Sitio. El Museo del Prado conserva la Alegoría del Aire (P03328) y de la Tierra; la Alegoría del Agua se conserva en la colección

Ceres in the House of Hecuba
Oil on copperplate. Ca. 1605
Elsheimer, Adam (And Workshop)
Ceres in the House of Hecuba
Oil on copperplate. Ca. 1605
Elsheimer, Adam (And Workshop)

According to Ovid’s Metamorphoses, after several days’s searching for her daughter Proserpina, who had been abducted by Pluto, Ceres stopped at the house of Hecuba. There, the goddess was offered a jug of water, from which she drank greedily, provoking the laughter of the young Stellio, whom Ceres turned into a tiny lizard. This painting belonged to Rubens, a friend and admirer of Elsheimer.

Abundance and the Four Elements
Oil on panel. Ca. 1615
Balen, Hendrick Van; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
Abundance and the Four Elements
Oil on panel. Ca. 1615
Balen, Hendrick Van; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

Abundance, personified by Ceres, goddess of fertility and agriculture, sits in front of a thicket of reeds at the edge of a forest. She has adorned her hair with wheat spikes -her attribute- and bears the horn of plenty under her left arm. Earth sits at her feet, offering her one of her fruits, she is personified by Flora, goddess of the earth and also of spring, which explains the flowers in her

Offering to Ceres
Oil on canvas. Ca. 1620
Jordaens, Jacques
Offering to Ceres
Oil on canvas. Ca. 1620
Jordaens, Jacques

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 bear an offering of the products they receive from the earth they farm. This goddess taught humans to use the plow and to farm, to which the painter alludes by including oxen in the work. Ceres also embo

Ceres and Pan
Oil on canvas. Ca. 1620
Rubens, Peter Paul (Workshop Of); Snyders, Frans
Ceres and Pan
Oil on canvas. Ca. 1620
Rubens, Peter Paul (Workshop Of); Snyders, Frans

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 cultivated nature and Pan, wild nature. The horn of plenty and basket of fruit in their laps alludes to the fecundity and fertility of the Earth, which is strengthened by the fruit and vegetables strewn

Earth
Oil on canvas. 1675 - 1700
Anonymous
Earth
Oil on canvas. 1675 - 1700
Anonymous

This canvas by a late 17th-century painter is part of a group of four works, all at the Museo del Prado (P191, P3196, P3197 and P3198), that express the idea of the Elements through motives drawn from classical mythology. Here, the element Earth is represented with total clarity by the goddess Ceres. The summer fruit she carries, especially sheaves of wheat, and the fact that she is suckling a bab

The Birth of the Sun and the Triumph of Bacchus
Oil on canvas. 1761
Giaquinto, Corrado
The Birth of the Sun and the Triumph of Bacchus
Oil on canvas. 1761
Giaquinto, Corrado

This is a sketch of the fresco that Corrado Giaquinto painted in the former stairway at the Madrid’s Royal Palace, which is now the Hall of Columns. That fresco, his last work at the Royal Palace, is undoubtedly one of the finest paintings from Giaquinto’s Spanish period.He concluded it in 1762, so the sketch presented here must have been made slightly earlier. At the top is the figure of Apollo,

The Goddess Cybele offering her Produce to the Earth
Oil on canvas. 1798
Maella, Mariano Salvador
The Goddess Cybele offering her Produce to the Earth
Oil on canvas. 1798
Maella, Mariano Salvador

Sketch for the fresco adorning the ceiling of the Sala de Maria Luisa in the Casa del Labrador at Aranjuez. Beneath Flora in flight is the Earth goddess, Cybele, to whom some farmers pay their respects. On one side is Apollo, god of the sun, with the allegories of the Tagus and Jarama rivers that meet in Aranjuez. On the other is Ceres with sheaves of corn.

Agriculture
Tempera on canvas. 1804 - 1806
Goya y Lucientes, Francisco de
Agriculture
Tempera on canvas. 1804 - 1806
Goya y Lucientes, Francisco de

This allegory accompanied others of Science (now lost), Commerce and Industry which decorated the staircase of Manuel Godoy´s palace. Ceres, goddess of Agriculture, is crowned with ears of corn. She is accompanied by a countryman, possibly her assistant Messor who was in charge of the harvest. Ceres made all vegetation grow: the hoes at her feet refer to the start of the crop cycle while the zodia

Summer
Oil on canvas. 1805 - 1806
Maella, Mariano Salvador
Summer
Oil on canvas. 1805 - 1806
Maella, Mariano Salvador

Disguised as a peasant woman accompanied by reapers, the Earth goddess, Ceres, is shown with her attributes, the torch and a sheaf of corn. The lightning in the sky may allude to Zeus, her brother and lover by whom she bore a daughter, Persephone, who was abducted by Hades and spent part of the year in the Underworld and the other part with her mother. This myth gave rise to the Seasons.

Ceres
Black chalk, White chalk on green paper. Before 1769
Bayeu, Francisco
Ceres
Black chalk, White chalk on green paper. Before 1769
Bayeu, Francisco

Figura femenina sentada en una nube con la cabeza de perfil. Dibujo preparatorio para la figura correspondiente en el ángulo superior izquierdo del fresco la Apoteosis de Hércules, pintado antes de 1769, en la bóveda de la Sala de Conversación del Cuarto de los Príncipes de Asturias, hoy convertida en salón de los Espejos o de la Música del Palacio Real de Madrid (Texto extractado de Arnáez, R.:

Peace and her Fruits
Ivory. XVIII century
Anonymous
Peace and her Fruits
Ivory. XVIII century
Anonymous

The goddess Eirene, bearing an olive branch, personifies Peace. She is surrounded by allegories of her bounty: prosperity, plenty, the progress of all the arts represented and the rejection of arms, to which a Limo] is about en see light with a burning brand. The two-faced got-U.1os, on the pediment, bears witness to the beginning and the ending of conilice.

The Rape of Proserpine
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (And Workshop); Madrazo y Agudo, José de; Rodríguez, Cayetano; Real Establecimiento Litográfico de Madrid
The Rape of Proserpine
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (And Workshop); Madrazo y Agudo, José de; Rodríguez, Cayetano; Real Establecimiento Litográfico de Madrid

Es una litografía de Cayetano Rodríguez (activo en Madrid entre 1829 y 1837) que reproduce el óleo pintado por Rubens y su taller conservado en el Museo Nacional del Prado (P01659). Esta estampa se entregaba con el cuadernillo CLXX acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros

The Rape of Proserpine
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (And Workshop); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de; Rodríguez, Cayetano
The Rape of Proserpine
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (And Workshop); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de; Rodríguez, Cayetano

Es una litografía de Cayetano Rodríguez (activo en Madrid entre 1829 y 1837) que reproduce el óleo pintado por Rubens y su taller conservado en el Museo Nacional del Prado (P01659). Esta estampa se entregaba con el cuadernillo CLXX acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros

The Rape of Proserpine
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (And Workshop); Madrazo y Agudo, José de; Rodríguez, Cayetano; Real Establecimiento Litográfico de Madrid
The Rape of Proserpine
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (And Workshop); Madrazo y Agudo, José de; Rodríguez, Cayetano; Real Establecimiento Litográfico de Madrid

Es una litografía de Cayetano Rodríguez (activo en Madrid entre 1829 y 1837) que reproduce el óleo pintado por Rubens y su taller conservado en el Museo Nacional del Prado (P01659). Esta estampa se entregaba con el cuadernillo CLXX acompañado de un texto explicativo de José Musso y Valiente. Iba encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros

Cup with the Four Seasons
Gold, Rock crystal / hyaline quartz, Enamel. 1570 - 1600
Fontana, Annibale -Designer- (?); Workshop Of The Sarachi
Cup with the Four Seasons
Gold, Rock crystal / hyaline quartz, Enamel. 1570 - 1600
Fontana, Annibale -Designer- (?); Workshop Of The Sarachi

This vessel has an ovate bowl with six gadroons and a lobed mouth. The shaft is formed by a triple knop, the upper and lower ones covered by enamelled gold mounts and the central one carved out of the rock crystal, with imitations of inset precious stones. The two enamelled gold mounts follow the same pattern of green scrolls framed by black whorls tooled in the gold, with a drop of red enamel in

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