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Triumph of Love
Oil on copperplate. XVII century
Lint, Pieter Van
Triumph of Love
Oil on copperplate. XVII century
Lint, Pieter Van

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 derecha de la composición, aparece Apolo portando una cítara como atributo de identificación del dios, y tras él un músico tocando una flauta de Pan.

Olympus or The Triumph of Venus
Oil on canvas. 1761 - 1764
Tiepolo, Giovanni Battista
Olympus or The Triumph of Venus
Oil on canvas. 1761 - 1764
Tiepolo, Giovanni Battista

This is a sketch for a no-longer extant painting on canvas intended to decorate a ceiling in a building of the imperial court of Russia, whose memory is preserved in an engraving made by Giambattista´s youngest son Lorenzo. The engraving forms a set with another three, two of which were also made by Lorenzo, on the basis of original works by his father, as part of the same commission. The en

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

Marriage of Peleus and Thetis
Oil on canvas. 1636 - 1638
Jordaens, Jacques
Marriage of Peleus and Thetis
Oil on canvas. 1636 - 1638
Jordaens, Jacques

As with the Rape of Hippodamia (P01658), this marriage scene was commissioned from Rubens as part of the mythological cycle drawn from Ovid´s Metamorphoses, which was to serve as the main artistic decoration of the Torre de la Parada. While Rubens prepared the oil sketch for the scene (Art Institute of Chicago), the Marriage of Peleus and Thetis was one of the numerous full-scale canvases whose ex

The judgement of Paris
Oil on canvas. 1650 - 1660
Albani, Francesco
The judgement of Paris
Oil on canvas. 1650 - 1660
Albani, Francesco

Francesco Albani was a much favoured pupil of Annibale Carracci. His success was partially due to mythological paintings such as The toilet of Venus (P1) and The judgement of Paris (P2), whose refined and lyrical view of nature helped disseminate the classical ideals of the Carracci`s landscapes.Albani`s The judgement of Paris, c.1650-60, shows the shepherd prince admiring the beauty of three godd

Venus, Adonis and Cupid
Oil on canvas. Ca. 1590
Carracci, Annibale
Venus, Adonis and Cupid
Oil on canvas. Ca. 1590
Carracci, Annibale

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 hero. The scene is based on book X of Ovid´s Metamorphoses, one of the most important sources of mythology for artists of that time. The composition and pictorial technique in this work are a fine

Aeneas becomes a God
Oil on canvas. Ca. 1820
Blondel, Merry-Joseph
Aeneas becomes a God
Oil on canvas. Ca. 1820
Blondel, Merry-Joseph

According to the fourteenth book of Ovid’s Metamorphoses, after ordering the river Numicius to wash away all the mortal aspect of Aeneas, Venus anointed him with a divine perfume and touched his mouth with a mixture of ambrosia and nectar, thus transforming him into a god (Miguel Ángel Hernanz Santos, information provided to the Museum in March 2021)Blondel, who specialised in decorative sc

Venus with an Organist and a Dog
Oil on canvas. Ca. 1550
Titian (Tiziano Vecellio)
Venus with an Organist and a Dog
Oil on canvas. Ca. 1550
Titian (Tiziano Vecellio)

In contrast to the paintings created for the Camerino d´Alabastro and the poesie made for Philip II, the canvases on the subject of Venus do not form a homogenous group as they were not painted for one client, nor were they designed to be shown together. In fact, the five paintings on this subject are variations on one idea. Located in a villa on the Venetian terra ferma, they depict Venus reclini

The Rape of Proserpine
Oil on canvas. 1636 - 1637
Rubens, Peter Paul -Painter- (And Workshop)
The Rape of Proserpine
Oil on canvas. 1636 - 1637
Rubens, Peter Paul -Painter- (And Workshop)

Proserpine, daughter of the earth goddess Ceres, was kidnapped by Pluto, the god of the underworld. Despite the resistance put up by Minerva, Venus and Diana, their relationship would blossom into love, as revealed by the presence of the cupids holding the chariot reigns and urging the horses on. This story of passion was part of the decoration of the Torre de la Parada.

Couples in a Park
Oil on canvas. Ca. 1785
Camarón, José
Couples in a Park
Oil on canvas. Ca. 1785
Camarón, José

This gallant scene in French Rococo style is adapted to Spanish tastes, with the characters dressed in the traditional Madrid fashion as majos and majas. In front of a fountain of Venus and Cupid, two ladies converse, while a third is approached by a majo. The bow and quiver with arrows allude to the darts of love that, according to classical mythology, Cupid would shoot. At the left of the compos

The Worship of Venus
Oil on canvas. 1518
Titian (Tiziano Vecellio)
The Worship of Venus
Oil on canvas. 1518
Titian (Tiziano Vecellio)

Titian´s first contribution to the Camerino d´Alabastro was prompted by the death in October 1517 of Fra Bartolommeo from whom Alfonso d´Este had commissioned a Worship of Venus one year previously and for which Fra Bartolommeo submitted a sketch. In April 1518, Titian received instructions on the subject matter and format of the work along with a drawing, probably that by Fra Bartolommeo. In Octo

Venus and Adonis
Oil on canvas. Ca. 1580
Veronese, Paolo (Paolo Cagliari)
Venus and Adonis
Oil on canvas. Ca. 1580
Veronese, Paolo (Paolo Cagliari)

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 love cut short by death, in this case that of Adonis. Veronese conveys the grief of Venus, goddess of love, as she presages the death of her lover at the hunt. Painted after a period in Rome, Veronese u

The Birth of Venus
Oil on canvas. 1842
Esquivel, Antonio María
The Birth of Venus
Oil on canvas. 1842
Esquivel, Antonio María

The delicate figure of Venus, goddess of love and beauty, rises out of the waves on a large scallop shell supported by naiads crowned with seaweed. Using a refined technique, Esquivel respects the classical canons of proportion and ideal beauty. The composition is inspired by the Venus pudica, a Classical sculpture of which Esquivel himself had a cast. It was regarded in the nineteenth century as

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 Judgement of Paris
Oil on panel. 1606 - 1608
Rubens, Peter Paul
The Judgement of Paris
Oil on panel. 1606 - 1608
Rubens, Peter Paul

As Homer tells it in The Iliad, Paris the shepherd, son of Priam, had to decide with of the three goddesses —Juno, Venus or Minerva— was the most beautiful, and give her the golden apple Mercury he had received from Mercury. On the left, Paris appears to be meditating, with the apple still in his hands. His attention is focused on Venus, in the middle of the composition. Minerva´s weapons are visi

Venus with an Organist and Cupid
Oil on canvas. Ca. 1555
Titian (Tiziano Vecellio)
Venus with an Organist and Cupid
Oil on canvas. Ca. 1555
Titian (Tiziano Vecellio)

Titian painted five images of Venus and music, but those five variations on a single theme were not made for the same client, nor intended to be exhibited together. Set in a villa, they show Venus reclining before a large window. At her feet, an organist (in the versions at the Museo del Prado and the Staatliche Museen in Berlin) or a lutenist (at the Metropolitan Museum of New York and the Fitzwi

Venus and Adonis
Oil on canvas. 1554
Titian (Tiziano Vecellio)
Venus and Adonis
Oil on canvas. 1554
Titian (Tiziano Vecellio)

The first Poesie presented to Prince Philip were Danaë (1553, The Wellington Collection) and Venus and Adonis (1554), versions of other previous works, but endowed with all the prestige of the commissioning party. In turn, these works became models for numerous replicas.Titian painted the first Venus and Adonis, which was lost but is known from the copies that were made of it, at the end of t

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.

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