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According to the inscription on the right, this is a portrait of the painter and friend of Madrazo, Eduardo Rosales. The detailed rendering of the face in profile stands out against the neutral green background. The very loose brushstrokes are applied with large gestures, bringing out the highlights on the forehead, nose and ear and drawing especial attention to the red button of the Legion of Hon
El Greco executed various versions of the Holy Face on the Veil of Veronica, an iconographic motif that became very popular at the end of the Middle Ages. According to the story that developed during the medieval period, on His way to Calvary a woman offered Jesus a white cloth to wipe the sweat and blood from His brow, and the features of His face became imprinted on the cloth. There is no biblic
The Seasons are the second of the three types of four canvas sets produced by the Bassano bottega in the 1570s. Like the Noah and Elements series, they were extraordinarily successful and many replicas were made. Between 1580 and 1600 the inventories of the Venetian court of Giudici di petizioni cite five series of the Seasons and a further 35 of paesi e animali, and, although there is no mention
This highly original still life presents various oysters in the fore and middle grounds—a relatively infrequent element in Meléndez’s paintings. The foreground is completed by some cloves of garlic and a decorated ceramic plate, probably from Talavera. Behind them, the powerful volume of an enormous copper pot vies for the leading role in this composition. It is tilted, as one edge rests on
Admired by a group of Roman soldiers while a peasant passes with fishing gear, a grandiose waterfall plunges down from a high mountain. In common with the rest of the series to which this painting belongs, destined for the Casita del Príncipe at El Escorial, this results in the sublime effect characteristic of the landscape painting of the period.
The Seasons are the second of the three types of four canvas sets produced by the Bassano bottega in the 1570s. Like the Noah and Elements series, they were extraordinarily successful and many replicas were made. Between 1580 and 1600 the inventories of the Venetian court of Giudici di petizioni cite five series of the Seasons and a further 35 of paesi e animali, and, although there is no mention
This work could be defined as a descriptive landscape combined with a genre scene of everyday life. Small figures inhabit a canvas that presents the buildings at El Campillo—a rest and recreation spot for monks and royalty—in the foreground, where it stands out against a light-colored sky with the Sierra de Guadarrama mountains in the distance.El Campillo, now a private estate along the road linki
In the eighteenth century, kites were an ideal subject for representing nature at its most sublime. Here the kite is blown by the wind to a dizzy height, where a dark cloud charged with electricity threatens danger for the young people below. The painting formed part of a series of six landscapes destined for the Casita del Príncipe at El Escorial, three of which are preserved at the Prado
This canvas and its companion, Taste, Hearing and Touch (P1404), represent the five senses embodied by female figures in palatial interiors. The sense of smell is conveyed by a woman holding flowers, while Sight contemplates herself in a mirror held by a cherub. They are located in a hall filled with paintings and sculptures, a sort of cabinet of paintings that could reflect an idealized represent
Es pareja de un retrato de similares características que representa a otra niña de edad y rasgos parecidos (P1227), por lo que se supone que eran hermanas. Sus vestidos, con el escote horizontal y las mangas abiertas, son representativos de la moda española de hacia 1660. Como ha ocurrido con numerosas pinturas, durante gran parte del siglo XIX, se creyeron ambas realizadas por Velázquez. Entre la
A fire in El Pardo Palace on March 13, 1604, destroyed the portraits in the Hall of Kings. These portraits had been painted by the finest artists of the time, including Titian, Antonio Moro, Alonso Sánchez Coello, and Sofonisba Anguisciola. Encased in stucco frames attached to the walls of the gallery, which had been organized by Sánchez Coello at the behest of Philip II, these portr
This is the companion to a portrait with similar characteristics that depicts another girl of about the same age with similar features (P1228). The two models may therefore have been sisters. Their dresses, with horizontal necks and open sleeves are characteristic of Spanish clothing from around 1660. As with many other paintings, these were considered works by Velázquez during the 19th cen
La Virgen con el Niño en brazos; San José leyendo un libro. Obra cercana a la estancia del pintor en Roma en 1645.
This painting was made following the Mechanised procedures used by various German workshops in the 16th century, including that of Lucas Cranach. Between 1532 and 1533 Cranach produced 120 similar portraits of Electors of Saxony, commissioned by John Frederick following his ascent to the title in 1532 and which Cranach’s numerous activities (as Burgomaster of Wittenberg, publisher and pharmacist)
The Seasons are the second of the three types of four canvas sets produced by the Bassano bottega in the 1570s. Like the Noah and Elements series, they were extraordinarily successful and many replicas were made. Between 1580 and 1600 the inventories of the Venetian court of Giudici di petizioni cite five series of the Seasons and a further 35 of paesi e animali, and, although there is no mention
This is one of a series of twelve panels (P01646, P01647, P01648, P01649, P01650, P01651, P01652, P01653, P01654, P01655, P01656, P01657) that make up an apostolate that originally included a Savior of the World. The disciples of Christ are represented in the style the painter used around 1612-1613. These are large figures of forceful appearance and considerable plasticity, contrasting with the da
Bernardo Strozzi was one of Genoa´s most outstanding early Baroque artists, and his work exemplifies the qualities and evolution of painting in the Ligurian capital. Moreover, his practice forged a brilliant artistic link between Genoa and Venice. Known as Il Prete Genovese, because he was a Capuchin monk, Strozzi received early training in the late Mannerist tradition from Cesare Corte (1550-c.16
Herrera Barnuevo was Charles II`s court painter, executing portraits of him between 1667 and 1671. These images include numerous elements referring to the young monarch`s royal status. Here various putti support the sceptre, crown and palm while on the left another one lifts up the insignia of the Golden Fleece and a crowned eagle holds a laurel wreath.
