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Philip IV
Oil on canvas. Ca. 1653
Velázquez, Diego Rodríguez de Silva y
Philip IV
Oil on canvas. Ca. 1653
Velázquez, Diego Rodríguez de Silva y

This image can be identified as that of a king and as a portrait of Philip IV on the basis of others of the monarch. In fact, nothing about the clothes or the sitter`s actions suggests his royal status except the easily recognisable physical features of the Habsburg dynasty, in particular the prominent chin.This portrait and the one who is in the National Gallery gave rise to a large number of ver

Zechariah
Grisaille, Oil on oak panel. Ca. 1510
Provost, Jan
Zechariah
Grisaille, Oil on oak panel. Ca. 1510
Provost, Jan

This is the right wing of the Genealogy of the Virgin altarpiece which the Count of Barajas donated to Philip II, according to the inventory of the Alcazar of Madrid of 1600. On the reverse, Saint Bernard of Siena appears in grisaille. The painter represents Zechariah, John the Baptist´s father, in an enclosed garden, employing the squat proportions which are characteristic of this word.

Adoration of the Shepherds
Oil on canvas. After 1575
Anonymous
Adoration of the Shepherds
Oil on canvas. After 1575
Anonymous

This is a modest bottega product illustrating the passage on the birth of Christ (Luke 2: 8-20) which lends itself particularly well to a nocturnal setting. It is a replica, not of the Adoration of the Shepherds Jacopo executed in 1590 for San Giorgio Maggiore in Venice, as previously believed, but of the painting depicting the same theme housed at the Louvre (inv. 430), which is an entirely autog

Ixion
Oil on canvas. 1632
Ribera, Jusepe de, lo Spagnoletto
Ixion
Oil on canvas. 1632
Ribera, Jusepe de, lo Spagnoletto

The father of the race of centaurs, Ixion was punished by madness for murdering his father-in-law. After he was pardoned he attempted to supplant Jupiter in Juno’s bed and was consequently condemned to be turned on a wheel for all eternity. Ribera depicts the wheel being set in motion by a satyr who has chained Ixion to it, allowing the artist to display his mastery of anatomy. The canvas is a pai

Margaret, Duchess of Parma / Mary of Portugal, Wife of Alessandro Farnesse
Oil on panel. After 1565
Mor, Anthonis
Margaret, Duchess of Parma / Mary of Portugal, Wife of Alessandro Farnesse
Oil on panel. After 1565
Mor, Anthonis

On the diptych’s left door, Mor portrays Alexander Farnese’s mother, who was Charles V’s illegitimate daughter by Juana van der Gheyst. Born in Audenarde in 1521, she died in Ortonna in 1586 after marrying twice in the emperor’s interest. Her first husband was Alexander of Medici, and after his death, she married Octavius Farnese, Duke of Parma. Following her second husband’s death, she was appoin

Jesus carrying the Cross
Oil on canvas. Ca. 1516
Piombo, Sebastiano del
Jesus carrying the Cross
Oil on canvas. Ca. 1516
Piombo, Sebastiano del

Jerónimo Vich y Valterra (1459-1535) was Spain’s ambassador to Rome between 1506 and 1521, under the reigns of Ferdinand the Catholic and Charles V. Vich commissioned Sebastiano del Piombo to paint a triptych whose central panel with the Lamentation over the Body of Christ is now at the Hermitage Museum in Saint Petersburg. One of its sides bears Christ’s Descent into Limbo and is also at t

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

The Birth of Venus
Oil on canvas. 1636 - 1638
Vos, Cornelis de
The Birth of Venus
Oil on canvas. 1636 - 1638
Vos, Cornelis de

El nacimiento de esta diosa aparece en la Teogonía de Hesiodo (188-ss): "(...) Vino el poderoso Urano conduciendo la noche, se echó sobre la tierra ansioso de amor y se extendió por todas partes. El hijo, saliendo de su escondite, logró alcanzarle con la mano izquierda, empuño con la derecha la prodigiosa hoz, enorme y de afilados dientes, y apresuradamente segó los genitales de su padre y luego l

The Fall of Phaethon
Oil on canvas. 1636 - 1638
Eyck, Jan Carel Van
The Fall of Phaethon
Oil on canvas. 1636 - 1638
Eyck, Jan Carel Van

Faetón, hijo de Apolo, para comprobar que era realmente hijo del dios Febo, pidió a su padre poder conducir durante un día el carro del sol. A pesar de las advertencias de su padre de la peligrosidad de guiar a los caballos, Faetón insistió y finalmente acabó en desastre. Tal y como lo narra Ovidio en sus Metamorfosis en el Libro II (31-328) "(...) Faetón se asusta; no sabe por donde dirigir las c

The Goddess Flora
Oil on canvas. Ca. 1697
Giordano, Luca; Belvedere, Andrea
The Goddess Flora
Oil on canvas. Ca. 1697
Giordano, Luca; Belvedere, Andrea

The goddess Flora is seated on steps or a kind of dais, holding a cornucopia of flowers and distributing blossoms among the women gathered before her. This is a collaborative work between two Neapolitan artists, Luca Giordano -a painter very popular with the Spanish court under Charles II- and Andrea Belvedere. Belvedere is now believed to be responsible for the flowers, the minute and precise bru

Sheet of Studies of Faces in Profile to the Left
Red chalk on yellow paper. First quarter of the XVI century
Anonymous
Sheet of Studies of Faces in Profile to the Left
Red chalk on yellow paper. First quarter of the XVI century
Anonymous

This is one of the drawings in the Prado carried out by one or more of Michelangelo’s associates, possibly copied from original studies by the master himself. Along with the two drawings by Michelangelo himself, these three studio drawings have stayed together from at least as early as the eighteen century, when they were all in the Martelli collection in Florence.Although Michelangelo did not run

Ecce Homo
Red chalk on dark yellow paper. XVII century
Anonymous
Ecce Homo
Red chalk on dark yellow paper. XVII century
Anonymous

El dibujo presenta a las figuras de medio cuerpo, el Cristo apoyado sobre el alfeizar en primer término, al fondo, un soldado sostiene la túnica. Enlazado estilísticamente con el modo de hacer de Guercino (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VI. Dibujos italianos del siglo XVII, Museo del Prado, 1983, p. 105).

Battle between Hercules and the Amazons
Pencil, Grey-brown ink on brown paper. 1544 - 1550
Cambiaso, Luca
Battle between Hercules and the Amazons
Pencil, Grey-brown ink on brown paper. 1544 - 1550
Cambiaso, Luca

The encounter between Hercules and the Amazons, the ninth of his Labors, arose from his assignment to seize the girdle of Queen Hippolyte of the Amazons. Admete, the daughter of Eurystheus, had expressed a desire to possess it, and Hercules therefore set off on a mission to satisfy her desire. The girdle was the ensign of the Queen´s power and she had received it as a present from Ares. The Amazon

The Assumption of the Virgin
Pencil, Pencil strokes, Grey-brown wash on dark yellow paper. First quarter of the XVIII century
Masucci, Agostino
The Assumption of the Virgin
Pencil, Pencil strokes, Grey-brown wash on dark yellow paper. First quarter of the XVIII century
Masucci, Agostino

La composición incluida en un rectángulo terminado en un arco mixtilíneo por ambos lados. En la parte baja, los apóstoles en pie, arrodillados y sentados rodean el sepulcro vacío de la Virgen, del que San Juan extrae el sudario. En la parte superior, la Virgen asciende a los cielos, sentada sobre una nube que llevan ángeles y angelitos.El dibujo se puede atribuir a Masucci por razones estilísticas

Standing male nude facing front, with left hand leaning on a stone block
Conté crayon, White chalk on laid paper. Ca. 1861
Fortuny, Mariano
Standing male nude facing front, with left hand leaning on a stone block
Conté crayon, White chalk on laid paper. Ca. 1861
Fortuny, Mariano

Executed as an exercise in anatomy, this drawing dates from the end of the painter’s formative period in Rome and displays the firm, well-defined strokes of a more mature artist. The light, artificially dramatised, shapes the carefully moulded physique of the model, who has been identified as Arlecchino, the nickname given to Filippo Cuggini for his ability to reproduce puppet-like gestures when p

Italian Notebook
Black chalk, Pencil, Red chalk, Bistre, Grey-brown ink, Iron gall ink on laid paper. 1771 - 1788
Goya y Lucientes, Francisco de
Italian Notebook
Black chalk, Pencil, Red chalk, Bistre, Grey-brown ink, Iron gall ink on laid paper. 1771 - 1788
Goya y Lucientes, Francisco de

Goya bought this sketchbook during his two-year sojourn in Italy, between 1769 and 1771. A taccuino or aide-mémoire, it includes the earliest drawings made at the time, among them copies of paintings and sculptures seen in Rome and sketches for paintings executed either there or immediately following his return to Spain. It also contains handwritten notes recording the names of cities visit

Dignitary wearing a long cloak
Pencil, Grey-brown ink, Wash on paper. XVI century
Anonymous
Dignitary wearing a long cloak
Pencil, Grey-brown ink, Wash on paper. XVI century
Anonymous

Cambiaso made a series of drawings of dignitaries, almost certainly in connection with his decoration of the Lercari family palace. In the Cambiaso Album there are two drawings probably related to this project (nos. 104 and 105, D01935 and D01932, respectively).

Who would think it?
Ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
Who would think it?
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

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