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Maria Anna of Spain, Queen of Hungary
Oil on canvas. Ca. 1630
Velázquez, Diego Rodríguez de Silva y
Maria Anna of Spain, Queen of Hungary
Oil on canvas. Ca. 1630
Velázquez, Diego Rodríguez de Silva y

Philip IV´s sister, Maria, was born in El Escorial in 1606. As a result of her royal lineage, she was destined to become yet another pawn in the play of matrimonial alliances that the European courts found so useful. As a marriageable infanta, marrying her was first considered a means of improving diplomatic relations with England, but those efforts failed as a result of religious incompatabilites

Pietà
Mixed method on pine panel. 1465 - 1470
Gallego, Fernando
Pietà
Mixed method on pine panel. 1465 - 1470
Gallego, Fernando

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 made it around 1480, the donor’s fashionable clothing, short hair and high cap suggest that the artist must not have painted this panel any later than 1470, and it very likely dates from a few years earl

John the Baptist and Saint John the Evangelist
Oil on canvas. 1600 - 1610
el Greco (Domenikos Theotokopoulos) (And Workshop)
John the Baptist and Saint John the Evangelist
Oil on canvas. 1600 - 1610
el Greco (Domenikos Theotokopoulos) (And Workshop)

En medio de un paisaje pedregoso y bajo la amenaza de un cielo de tormenta, san Juan Evangelista y san Juan Bautista se presentan en primer término y en actitud de dialogar. Cada uno aparece con la indumentaria y los atributos de su iconografía tradicional: el Evangelista es un joven imberbe que se cubre con túnica azul y un amplio manto rosáceo; bendice el cáliz del que brota un dragoncillo, refe

A Stop at an Inn
Oil on canvas. 1655 - 1658
Wouwerman, Philips
A Stop at an Inn
Oil on canvas. 1655 - 1658
Wouwerman, Philips

The scene is closed in to the left by part of the inn and a tree, whereas the right-hand side opens out onto a vast panoramic view with a low horizon that occupies the entire background. The composition is structured into parallel planes, but unified by the atmospheric perspective to form a continuous whole. The main scene takes place in the foreground, although the figures are set at a distance f

The Virgin and Child with the Infant Saint John the Baptist
Oil on panel. 1599 - 1600
Carracci, Annibale
The Virgin and Child with the Infant Saint John the Baptist
Oil on panel. 1599 - 1600
Carracci, Annibale

This late work whose composition recalls those of Raphael, is listed in the 1746 inventory of the La Granja Palace as a panel by Aníbal Caracho’s [sic.] hand, Our Lady sitting on the ground with the Infant Jesus on her lap and Young Saint John alongside, one third [of a rod] in diameter. Born in Bologna in 1650, Anibal Carracci was the younger brother of Agostino and cousin of Ludovico. In

The Virgin Dolorosa
Oil on panel. 1560 - 1570
Morales, Luis de
The Virgin Dolorosa
Oil on panel. 1560 - 1570
Morales, Luis de

The Virgin Mary, turned slightly to the right, has her hands clasped in an imploring attitude, her gaze absent and her eyes flooded with tears. She wears a bluish-green robe, a violet tunic and a white coif. The iconography of the Mater Dolorosa does not appear in the gospels, but is a creation that emerges from the exaltation of pathos at the end of the Middle Ages. Nevertheless, the episode alwa

The Actress María Guerrero as La dama boba
Oil on canvas. 1906
Sorolla y Bastida, Joaquín
The Actress María Guerrero as La dama boba
Oil on canvas. 1906
Sorolla y Bastida, Joaquín

This portrait of María Guerrero, Sorolla’s neighbour and friend, is probably the finest and most expressive example of the eminent actress’s lifelong obsession with her own image. From childhood, she had herself portrayed by some of the most famous painters of her time, many of whom were friends of her father, the set designer Ramón Guerrero. María Guerrero grew up in a cultur

Saint John the Baptist in a Landscape
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
Saint John the Baptist in a Landscape
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista

On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight months to make the paintings, which had to portray the scenes and episodes specified by the prior of the monastery. Despite the agreement reached in the contract, the paintings were not completed until De

The Sense of Hearing
Oil on panel. 1617 - 1618
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
The Sense of Hearing
Oil on panel. 1617 - 1618
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

This set of paintings on the five senses (Sight, Hearing, Smell, Taste, Touch) was one of the most successful collaborations of Peter Paul Rubens and Jan Brueghel “the elder.” Rubens placed his figures in the magnificent courtly scenes created by Brueghel as settings for these allegories of the senses, resulting in a series of enormous quality and esthetic appeal. The subject was widely employed i

Lanscape at Portici
Watercolour, Gouache / tempera on paper. 1874
Fortuny, Mariano
Lanscape at Portici
Watercolour, Gouache / tempera on paper. 1874
Fortuny, Mariano

In the summer of 1874 Fortuny settled in a seaside villa in Portici, near Naples, where he painted several landscapes and seascapes that show his interest in the study of painting from life. This interest is clear in this view of the surrounding area of his house, in which the arrangement of clouds in motion suggests the instability of the changing atmosphere of that place.

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

The Presentation of the Virgin in the Temple
Pencil, Grey-brown ink, White lead, Wash on blue paper. Third quarter of the XVI century
Trometta
The Presentation of the Virgin in the Temple
Pencil, Grey-brown ink, White lead, Wash on blue paper. Third quarter of the XVI century
Trometta

By far the most prestigious commission of Trometta´s entire career was the fresco decoration of the ceiling of the choir of the church of S. Maria in Aracoeli, Rome. On 30 January 1565 he contracted to carry out the scheme, while an inscription on the vault indicates that he completed it in 1568. At the center is the large-sized, upright oval fresco of the Virgin and Child with Angels. To either s

Armor of Charles Emmanuel I, Duke of Savoy
Conté crayon on laid paper, wove paper. Ca. 1852
Pizarro y Librado, Cecilio
Armor of Charles Emmanuel I, Duke of Savoy
Conté crayon on laid paper, wove paper. Ca. 1852
Pizarro y Librado, Cecilio

El Museo Nacional del Prado adquirió en 2004 un álbum con casi trescientos dibujos de Cecilio Pizarro, relacionados fundamentalmente con su labor como dibujante para xilografía. Este dibujo está realizado sobre papel avitelado, adherido en la mitad izquierda de la página del álbum. En general, los dibujos adheridos a las páginas en blanco del álbum, se consideran diseños previos para el grabado, d

The Emperor Antoninus Pius
White marble. Ca. 140
Roman Sculptor
The Emperor Antoninus Pius
White marble. Ca. 140
Roman Sculptor

Titus Aurelius Boionius Arrius Antoninus (86-161 A. D.) was adopted in 138 A. D. by the moribund emperor Hadrian to be his successor. His portrait, dating from shortly after, did not change during the whole of his reign. The effigy prolongs the style of Hadrian’s portraits, intending to emphasize the loyalty of Antoninus Pius to the pacifist policy of his predecessor.

The Empress Sabina
White marble. Ca. 130
Roman Sculptor
The Empress Sabina
White marble. Ca. 130
Roman Sculptor

This is the last portrait of Vibia Sabina (83-136 A. D.), wife of the emperor Hadrian. It does not represent her at her real age (some 48 years), but is a highly idealised and rejuvenated image. Her hairstyle is not a traditional roman one but is inspired by the imagery of the goddess of Diana. The portrait reflects the intention of making her appear ageless.

Charles VII of Naples, the future Charles III of Spain
Italian marble. Ca. 1744
Anonymous
Charles VII of Naples, the future Charles III of Spain
Italian marble. Ca. 1744
Anonymous

A medallion portraying the young Charles of Bourbon (1716-1788), recently proclaimed King of Naples and Sicily, who would become King Charles III of Spain in 1759. Shown in profile with a large wig and dressed all’antica, his breastplate bears a head of Medusa, an allusion to the mythological heroes, and the golden fleece, the symbol of the Order of the same name.

Sumerian Head
Diorite. 2144 A.C. - 2124 a.C.
Anonymous
Sumerian Head
Diorite. 2144 A.C. - 2124 a.C.
Anonymous

This is one of the largest known Sumerian heads. It is quite similar to portraits of Gudea, the most famous and intelligent ruler of Lagasch. There is very little information about the origins of this piece, which Mexican collector Marius de Zayas donated to the Museo del Prado during World War II. Zayas himself stated that "the pieces that make up my donation have been collected over the course o

Hercules
Marble. 135 - 150
Roman Sculptor
Hercules
Marble. 135 - 150
Roman Sculptor

The Roman copy of a herm of Hercules’s almost entire body from the middle of the Hellenistic era (170-160 B. C.). On account of his superhuman works, the hero was a model for the ancient philosophers and appears like them with a severe look, a meticulous hairstyle and an impressive beard which also reveal his physical and mental strength. He wears the crown of the deified heroes. On account of its

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