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Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first [+]
In the mid-nineteenth century Federico de Madrazo produced some of the most successful portraits of the Spanish bourgeoisie during the reign of Isabel II (1833-68), presenting them with the opulence t [+]
Esta obra, junto con El hijo pródigo recoge su legítima (P997), La disipación del hijo pródigo (P999) y El hijo pródigo abandonado (P1000), son los cuatro únicos bocetos conocidos de una serie integra [+]
These are the four surviving preparatory sketches for a series of six canvases now in the National Gallery in Dublin, based on the parable of the Prodigal son (Lc 15). They are partly based on prints [+]
Moses Striking Water from the Rock and The Bronze Serpent are related to frescos on the same subjects in the apse of the basilica of Santa Croce in Gerusalemme in Rome. Those decorations commissioned [+]
Renaissance painting abounds with representations of Christ bearing the cross on the road to Calvary, either as an isolated figure, or with an executioner assailing him, or accompanied by soldiers, cu [+]
María de la Concepción Serrano y Domínguez was the eldest child of General Serrano, the Duke of Torre. She was born in Havana in 1860, which her father was Commander in Chief of C [+]
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 [+]
Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first [+]
Protagoniza el mismo escenario arquitectónico, de idéntico contenido bíblico, del cobre Jesús en el atrio del Pontífice. Los personajes de la nave lateral del fondo evocan la narración, inmediatamente [+]
Between 1635 and 1636 Sacchi left Bologna in order to study the work of Correggio (c. 1489-1534) and the Venetian painters. Before leaving he painted a portrait of his teacher, Albani (1578-1660), age [+]
Wearing a penitent´s hood, a woman condemned by the Inquisition rides a burro, receiving the insults of those observing this street scene. Executed with rapid and impasto brushstrokes favors, this wor [+]
This emblematic picture is undoubtedly the best-known work on a social theme produced by Sorolla in his youth. It is also an especially good example of how fully the artist became involved in a genre [+]
Wearing a penitent´s hood, a man condemned by the Inquisition rides a burro, receiving the insults of those observing this street scene. Executed with rapid and impasto brushstrokes favors, this work [+]
From the time of the Museum’s founding this small room was part of the private area known as Their Majesties’ Rest Room (now Room 39). Similar to those existing in other Bourbon palaces, it housed the [+]
This panel originally had an arched top and included a more open landscape with less leafy trees. At an unknown date the work must have suffered damage that affected the pictorial surface, resulting i [+]
This work portrays the well-known New Testament parable (Luke, 15: 11-32) illustrating the repentance of the sinner and the virtues of forgiveness. The pretext for the setting is the banquet given by [+]
Esta obra, junto con El hijo pródigo recoge su legítima (P997), La despedida del hijo pródigo (P998) y La disipación del hijo pródigo (P999), son los cuatro únicos bocetos conocidos de una serie integ [+]
