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Isabel Clara Eugenia
Oil on canvas. 1591 - 1592
Anonymous; Kraek, Jan ( Also Called Giovanni Caracca)
Isabel Clara Eugenia
Oil on canvas. 1591 - 1592
Anonymous; Kraek, Jan ( Also Called Giovanni Caracca)

Tras la muerte de Felipe II la corte quedó sumida en el luto, y así se hizo retratar su hija Isabel Clara Eugenia en esta obra. Viste saya negra de la que asoman manguillas de raso blanco con bordaduras en oro. El tocado es más complejo, con flores -jazmines- y cintas rojas con perlas. Se reconocen algunas joyas como el famoso rubí, diamante y perla que heredó de Ana de Austria y que luce en su re

Reading
Oil on canvas. XVII century
Anonymous
Reading
Oil on canvas. XVII century
Anonymous

Isabella of Bourbon, Countess of Charolais
Oil on canvas mounted on panel. XV century
Anonymous
Isabella of Bourbon, Countess of Charolais
Oil on canvas mounted on panel. XV century
Anonymous

Isabella of Bourbon, Countess of Charolais (1434-1465) was the second wife of Charles the Bold, Count of Charolais and future Duke of Burgundy.

David with the head of Goliath
Oil on canvas. XVII century
Anonymous
David with the head of Goliath
Oil on canvas. XVII century
Anonymous

Portrait of Mariana of Austria, daughter of Emperor Leopold I
Oil on canvas. Ca. 1695
Anonymous
Portrait of Mariana of Austria, daughter of Emperor Leopold I
Oil on canvas. Ca. 1695
Anonymous

La retratada ha sido identificada por E. Puerto Mendoza (2020) con la archiduquesa María Ana de Austria (1683-1754), hija del emperador Leopoldo I y de Leonor de Neoburgo, lo que la convertía en sobrina de la reina de España Mariana de Neoburgo. Esta soberana probablemente lo exhibió en la galería de retratos familiares que tenía instalada en su cuarto de verano del Alcázar de Madrid. En su edad a

Saint John the Baptist
Oil on canvas. XVI century
Anonymous
Saint John the Baptist
Oil on canvas. XVI century
Anonymous

San Juan Bautista visto de frente, con barba y cabellos largos y ondulados. Está vestido con una túnica sin mangas en color verde sobre la que se superpone un manto de color rojo que parte del hombro izquierdo y cruza por delante. Con sus manos sujeta una vara larga con la cruz y tiene el dedo índice de la mano derecha extendido haciendo referencia al texto Ecce Agnus Dei. La figura recibe la luz

Alonso Martínez de Espinar (¿?)
Oil on canvas. XVII century
Anonymous
Alonso Martínez de Espinar (¿?)
Oil on canvas. XVII century
Anonymous

Se identifica al personaje como Alonso Martínez de Espinar (h.1594-1682), ayuda de cámara del príncipe Baltasar Carlos y del propio monarca, entre cuyos cometidos estaba el de acompañar a Felipe IV durante las cacerías y entregarle el arcabuz. en este mismo ministerio le ayudaba también Juan Céspedes.Hombre muy experto en caza escribió y publicó una obra titulada Arte de la ballestería y montería

Mary Magdalene, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous
Mary Magdalene, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous

The mural paintings from the Hermitage of the Vera Cruz de Maderuelo were transferred to canvas in 1947 and reconstructed at the Prado Museum in a layout as faithful to the original as possible. The walls of the chapel are decorated with figures of angels, Apostles and evangelical scenes, and the front bears two biblical themes. Dome, center: God the Father held by four angels (P07269, P07270). Le

Two Apostles, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous
Two Apostles, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous

The mural paintings from the Hermitage of the Vera Cruz de Maderuelo were transferred to canvas in 1947 and reconstructed at the Prado Museum in a layout as faithful to the original as possible. The walls of the chapel are decorated with figures of angels, Apostles and evangelical scenes, and the front bears two biblical themes. Dome, center: God the Father held by four angels (P07269, P07270). Le

Right Spandrel of the Entry Arch, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous
Right Spandrel of the Entry Arch, Hermitage of Vera Cruz, Maderuelo (Segovia)
Fresco painting on mural transferred to canvas. XII century
Anonymous

The mural paintings from the Hermitage of the Vera Cruz de Maderuelo were transferred to canvas in 1947 and reconstructed at the Prado Museum in a layout as faithful to the original as possible. The walls of the chapel are decorated with figures of angels, Apostles and evangelical scenes, and the front bears two biblical themes. Dome, center: God the Father held by four angels (P07269, P07270). Le

Tityus
Oil on canvas. XVII century
Anonymous
Tityus
Oil on canvas. XVII century
Anonymous

The Palacio del Buen Retiro in Madrid boasted a full set of the Furias -Tantalus (P3784), Tityus (P3941), Ixion (P3785) and Sisyphus (P3942)-, now in the Museo del Prado; some scholars maintain that they were produced in Ribera’s work-shop, while others attribute them to the circle of the young Giordano.

Anne Marie Louise d'Orléans, Duchess of Montpensier
Oil on canvas. Before 1689
Anonymous
Anne Marie Louise d'Orléans, Duchess of Montpensier
Oil on canvas. Before 1689
Anonymous

This canvas is one of a group of portraits collected by María Luisa de Orleans (1662-1689), first wife of Carlos II of Spain, which would become part of the Royal Collection. Some of these paintings must have decorated the Queen´s Gallery in the Alcázar (Madrid), a representation space where the Queen launched a decorative and iconographic program of exaltation of her dynasty. Others

Saint Peter weeping
Oil on canvas. 1620 - 1630
Anonymous
Saint Peter weeping
Oil on canvas. 1620 - 1630
Anonymous

After denying that he was a follower of Christ, Saint Peter repented of his actions. This canvas deploys the chromatic restraint and compositional rigour of Velázquez’s early works, combined here with a freer and more relaxed although equally deft pictorial handling.

Saint Peter weeping
Oil on canvas. XVII century
Anonymous
Saint Peter weeping
Oil on canvas. XVII century
Anonymous

Rest on the Flight into Egypt
Oil on panel. 1520 - 1530
Anonymous
Rest on the Flight into Egypt
Oil on panel. 1520 - 1530
Anonymous

Aún no se ha identificado a su autor; pero en algunos aspectos coincide con las obras salidas del taller de Joos van Cleve, que también colaboró con Patinir representando figuras para sus escenas de paisaje, igual que hizo Quintin Massys en Las tentaciones de San Antonio Abad (P1615). Por lo que se refiere al paisaje, las obras de van Cleve están mucho más trabajadas en superficie que las de Patin

River Landscape with Riders and a Tower
Oil on canvas. XVII century
Anonymous
River Landscape with Riders and a Tower
Oil on canvas. XVII century
Anonymous

On entering the Museum this painting was inventoried as a product of the Sevillian school, though the 1876 catalogue lists it as a work executed in the style of Jan Both. Valdivieso (1973) considers it to be an eighteenth-century Italian work, while Barghahn (1986) identifies it as one of the landscapes in the Palace of the Buen Retiro inventory, though in fact neither the measurements nor the des

Self-portrait
Oil on canvas. Early XVIII century
Anonymous
Self-portrait
Oil on canvas. Early XVIII century
Anonymous

Xavier de salas, en nota manuscrita conservada en el servicio de documentación del Museo del Prado, afirmaba: El retratado en el Prado sea quien fuese es indudablementeel que aparece en el ángulo inferior derecho del lienzo de la National Gallery atribuido aVelázquez y supuesto una fiesta de familia, que por las semejanzas con el retrato de Jordán del Prado supuso Beruete era obra suya. Las caract

The Way to Calvary
Oil on canvas. XVII century
Anonymous
The Way to Calvary
Oil on canvas. XVII century
Anonymous

Catalogada hasta 1965 como obra de escuela napolitana, Pérez Sánchez señaló que era obra boloñesa, de estilo muy próximo a Sisto Badalocchio (1585-c. 1647). Recuerda a un Camino del Calvario de este artista que figuraba entre los cuadros comprados a los herederos de Maratti, en 1722, aunque hay que señalar una diferencia de dimensiones.

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