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Vulcan's Forge
Oil on canvas. Ca. 1577
Bassano, Jacopo (Jacopo Dal Ponte)
Vulcan's Forge
Oil on canvas. Ca. 1577
Bassano, Jacopo (Jacopo Dal Ponte)

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 it was deposited, having been attributed to a follower of Leandro Bassano. The painting appears to be a monumental refutation of Vasari´s description of Jacopo in the second edition of his Lives (Flore

The Forge of Vulcan
Oil on canvas. Late XVI century
Bassano, Jacopo (Jacopo Dal Ponte) (Workshop Of)
The Forge of Vulcan
Oil on canvas. Late XVI century
Bassano, Jacopo (Jacopo Dal Ponte) (Workshop Of)

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 bottega, in which Jacopo´s degree of involvement varies. Of the original series, executed mainly by Francesco, Air (Berlin, Kaiser Friederich Museum) remains; of a later set produced in 1578-1580 and execu

Vulcan and Fire
Oil on canvas. XVII century
Rubens, Peter Paul (Follower Of)
Vulcan and Fire
Oil on canvas. XVII century
Rubens, Peter Paul (Follower Of)

This work, together with Aeolus (P001716), is mentioned in the Zarzuela Palace (inventario de la Testamentaría de Carlos II [inventory of the Testament of Charles II], 1701–3) as ‘two frameless paintings, one and a half vara high, of the elements of fire and air’. Curiously, Ponz, in his Viage when recounting his experience in the Capuchin convent of El Pardo in Madrid near the Manzanares r

Vulcan's Forge
Oil on canvas. 1630
Velázquez, Diego Rodríguez de Silva y
Vulcan's Forge
Oil on canvas. 1630
Velázquez, Diego Rodríguez de Silva y

A figure suddenly appears on the left in a forge where various blacksmiths are working, dressed in an orange robe and wearing a laurel wreath, with rays of light emerging from his head. This is Apollo, who addresses himself to Vulcan, the blacksmith nearest to him, whose stance reveals his lameness. Everyone has stopped working, astonished by the news Apollo is recounting: the adultery of Vulcan`s

Vulcan forging the Thunderbolts of Jupiter
Oil on canvas. 1636 - 1638
Rubens, Peter Paul
Vulcan forging the Thunderbolts of Jupiter
Oil on canvas. 1636 - 1638
Rubens, Peter Paul

Peter Paul Rubens executed this painting between 1636 and 1637 on a commission from Philip IV for the Torre de la Parada. The decoration of this royal hunting pavilion, in which other artists such as Diego Velázquez participated, was the most important commission Rubens received from the Spanish monarch. Beginning in 1636, he sent more than 60 works from Antwerp to Madrid for the royal plea

Fire
Oil on canvas. Ca. 1700
Palomino y Velasco, Acisclo Antonio
Fire
Oil on canvas. Ca. 1700
Palomino y Velasco, Acisclo Antonio

The allegory takes place in a setting of dark foliage that partly conceals a grotto -the forge of Vulcan- while the sea horizon on the other side is dominated by the crater of a volcano. In the foreground Venus, accompanied by Cupid and some putti, pays a visit to her husband´s forge. The work belongs to a series of the Four Elements executed by several painters for the Buen Retiro palace.

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,

Vulcan
Black chalk, White chalk on dark toned paper. 1764
Bayeu, Francisco
Vulcan
Black chalk, White chalk on dark toned paper. 1764
Bayeu, Francisco

Desnudo, de pie, de frente, la cabeza de tres cuartos, en escorzo visto desde abajo. Dibujo preparatorio para la figura correspondiente en el fresco de la Caída de los Gigantes en el Palacio Real de Madrid (Texto extractado de Arnáez, R.: Catálogo de Dibujos. II. Dibujos Españoles. Siglo XVIII (A-B), Museo del Prado, Madrid, 1975, p. 21-22).

Vulcan’s Forge
Taille douce: etching and engraving on continuous paper. 1798
Glairon-Mondet, e. J.; Alcántara, Francisco; Calcografía Nacional; Imprenta Real
Vulcan’s Forge
Taille douce: etching and engraving on continuous paper. 1798
Glairon-Mondet, e. J.; Alcántara, Francisco; Calcografía Nacional; Imprenta Real

This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints

Vulcan’s Forge
Taille douce: etching and engraving on continuous paper. 1798
Glairon-Mondet, e. J.; Alcántara, Francisco; Calcografía Nacional
Vulcan’s Forge
Taille douce: etching and engraving on continuous paper. 1798
Glairon-Mondet, e. J.; Alcántara, Francisco; Calcografía Nacional

This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints

Vulcan’s Forge
Taille douce: etching and engraving on laid paper. 1798
Glairon-Mondet, e. J.; Alcántara, Francisco
Vulcan’s Forge
Taille douce: etching and engraving on laid paper. 1798
Glairon-Mondet, e. J.; Alcántara, Francisco

This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints

Vulcan’s Forge
Taille douce: etching and engraving on continuous paper. 1798
Glairon-Mondet, e. J.; Alcántara, Francisco; Calcografía Nacional
Vulcan’s Forge
Taille douce: etching and engraving on continuous paper. 1798
Glairon-Mondet, e. J.; Alcántara, Francisco; Calcografía Nacional

This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints

Vulcan’s Forge
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Vulcan’s Forge
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut

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