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The compositional structure and depiction of details reveal the artist’s ability to devise decorative elements such as garlands, flowers and scroll-work and to combine them with figures. The motifs ar [+]
A dark background and a gray table are the setting for this painting’s only motive: a merino lamb between eight and twelve months old. Still alive, it lies with bound feet in an unmistakably sacrifici [+]
This wedding portrait by Vicente López depicts Ferdinand VII’s fourth and final wife, his niece Maria Cristina. All three of his previous spouses, María Antonia of Bourbon (1784-1806), M [+]
En el Inventario general de los cuadros de la Trinidad existentes en el depósito y escogidos por la Comisión de la Academia aparecen dos cuadros con la representación de san Juan Bautista. Dado que el [+]
Sitting on a stone bench beside a landscape that disappears into the distance, the girl holds various roses on a handkerchief in her lap. Her hat lies on the ground. Lost in thought, she gazes out of [+]
The Four Parts of the World, that is, the continents known at that time -Europe, Asia, Africa and America -became a very popular subject, as it was totally in keeping with that period’s interest in sc [+]
Although as a genre, bodegones, or still life paintings, were considered inferior to religious scenes, history painting and portraiture, they were very popular in Early Modern Spain. Following earlier [+]
This singular composition, which can be dated 1775, was painted at the height of the 18th century, although, in aesthetic terms, the Baroque was already in decline as it entered its final phase. Its d [+]
The capitulation of the Rhenish city of Jülich was one of the most outstanding events at the beginning of the Thirty Years War (1618-1648). Occupied by Maurice of Nassau’s French troops since 161 [+]
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 [+]
By all indications, this panel at the Museo del Prado with the signature FERNA[N]DO GALLEG[U]S is the earliest surviving work by that painter from Salamanca. While some scholars think he must have mad [+]
Maratti was a pupil of Sacchi (ca. 1599-1661). He may have painted this portrait as a pair to that of Francesco Albani by Sacchi (also on display in this room), which he acquired in 1661. It passed fr [+]
With its very straightforward composition, this painting has the serenity and restfulness that characterize many of Alonso Cano´s religious works. The painter´s skill at assimilating the most varied i [+]
This canvas, like P7349, is one of a group of six preparatory designs for the tapestries made for the private room of the Princess of Asturias in the Royal Palace. In each canvas a putto holds symbols [+]
This Judas betraying Christ, from the Duke of Pastrana`s collection, is a version on canvas of an original signed panel (47.5 x 40 cm) formerly in the Duke of Bouillon`s collection, and later, accordi [+]
The Agony in the Garden, painted by Giovanni Domenico (Giandomenico) Tiepolo as part of a commission from the fathers of the convent of San Felipe Neri de Madrid, is one scene in a series of eight dep [+]
The composition of this still-life follows a strict geometric schema, in the manner of Juan van der Hamen. Two baskets and two metal plates flank a dark bottle in the center of the painting, marking t [+]
A very beautiful study of Isabel de Segura, the protagonist of the nineteenth-century legend of The Lovers of Teruel, which was dramatized in verse by Hartzenbusch. The bride, prepared to marry Rodrig [+]
