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Cardinal-Infante Ferdinand of Austria at the Battle of Nördlingen
Oil on canvas. 1634 - 1635
Rubens, Peter Paul
Cardinal-Infante Ferdinand of Austria at the Battle of Nördlingen
Oil on canvas. 1634 - 1635
Rubens, Peter Paul

The Cardinal-Infante is depicted in full body armor, with a black hat, a staff and a red sash. He is portrayed as a general of the Spanish Armies during the Battle of Nördlingen when, in 1634, they took on the Protestant army. Near him, the allegory of fury and the eagle and lightening bolts of Jupiter allude to his dashing force. A battle scene occupies the background. Rubens painted this wo

Hunting Party and Fishermen
Oil on canvas. 1660 - 1662
Wouwerman, Philips
Hunting Party and Fishermen
Oil on canvas. 1660 - 1662
Wouwerman, Philips

This is one of the elegant hunting scenes Wouwerman painted in the early 1660s that reveal his extraordinary talent as landscape artist. In these works, rather than depicting a hunting scene set in front of a landscape, as was typical of his A Stop at an Inn (P2152), he presents a vast panoramic view that occupies the entire surface and is adorned with figures of hunters and animals, diverse genre

Abdication of Charles III
Oil on canvas. 1759
Joli, Antonio
Abdication of Charles III
Oil on canvas. 1759
Joli, Antonio

On August 10, 1759, Ferdinand VI died without a descendant. As a result, his stepbrother Charles, then King of Naples and Sicily, inherited the Spanish throne. The first of seven children of Philip V and his second wife Isabel Farnese, Charles VII had reigned for a period of almost 24 years in Naples. In 1738, he had married the Pricess María Amalia of Saxony, and their thirteen children we

Christ carrying the Cross
Oil on canvas. Ca. 1565
Titian (Tiziano Vecellio)
Christ carrying the Cross
Oil on canvas. Ca. 1565
Titian (Tiziano Vecellio)

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, curious bystanders and followers, among whom the depiction of Simon of Cyrene is relatively common. According to three of the evangelists (Matthew 27:32-33, Mark 15:21-22, and Luke 23:26-27), Simon carr

Ceferino Araujo
Oil on canvas. 1864
Bonnat, Léon-Joseph
Ceferino Araujo
Oil on canvas. 1864
Bonnat, Léon-Joseph

El retrato representa a un hombre de unos treinta años, de rasgos pronunciados y barba. La atención se concentra en el rostro, que no parece juntarse al cuerpo, vagamente bosquejado debajo. La posición centrada y frontal de la cara en el primer plano produce una impresión de proximidad y confianza, y la pincelada libre y desigual en el vacío del fondo concede al retrato una sensación movida, al ig

Saint Clement, Pope
Oil on panel. 1540 - 1545
Correa de Vivar, Juan
Saint Clement, Pope
Oil on panel. 1540 - 1545
Correa de Vivar, Juan

The figure has been identified as Saint Clement, a pope and a martyr from the 1st century (92–101). Originally Jewish, Saint Peter converted him to Christianity. According to tradition, he became a martyr by being thrown into the Black Sea with an anchor around his neck. In 867, Saints Cyril and Methodius transferred his remains to Rome and in so doing catalysed his devotional following. He is alw

The Coronation of the Virgin
Black chalk, Grey wash on dark yellow paper. XVII century
Grano, Antonio
The Coronation of the Virgin
Black chalk, Grey wash on dark yellow paper. XVII century
Grano, Antonio

El dibujo presenta a la Virgen sentada en el centro, con los brazos extendidos mientras que varios angelitos y querubines revolotean a su alrededor. En la parte baja se representa a la serpiente con la manzana y en la parte superior, Dios Padre con el cetro se acerca a coronar a la Virgen.Lleva una atribución antigua a Antonio Grano, del que existen escasas noticias como dibujante; sin embargo, es

What is the use of the overskirt and the bloomers?
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
What is the use of the overskirt and the bloomers?
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

Many a widow has wept like you
Brush, Bistre, Grey-brown ink, Iron gall ink, Black chalk lines, Wash, Scraping out on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
Many a widow has wept like you
Brush, Bistre, Grey-brown ink, Iron gall ink, Black chalk lines, Wash, Scraping out on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

Sixth, with nightmare
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
Sixth, with nightmare
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

Ninth
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
Ninth
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

He carries his wherewithal in his bag of flesh
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
He carries his wherewithal in his bag of flesh
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

For those who are in deadly sin
Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
For those who are in deadly sin
Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

For liking a she-ass
Brush, Bistre, Grey-brown ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
For liking a she-ass
Brush, Bistre, Grey-brown ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

How many yards?
Brush, Bistre, Grey-brown ink, Iron gall ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
How many yards?
Brush, Bistre, Grey-brown ink, Iron gall ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

These witches will tell
Brush, Grey-brown ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
These witches will tell
Brush, Grey-brown ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

He takes his clothes off for evermore
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
He takes his clothes off for evermore
Brush, Bistre, Grey-brown ink, Black chalk lines, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

The same
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
The same
Brush, Bistre, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

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