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Henry IV
Oil on canvas. Second half of the XVII century
Arco, Alonso del
Henry IV
Oil on canvas. Second half of the XVII century
Arco, Alonso del

This heroic full-length portrait presents the king under a red-and-gold curtain with a landscape in the background. He wears a crown and, under a blue tunic, armor. His right hand rests on the head of a lion whose paw rests, in turn, on the coat of arms of Castile and León, territories ruled by Henry IV. The arms are surrounded by pomegranate flowers with the slogan, AGRO DULCE, an insignia

The Israelites drinking the miraculous Water
Oil on canvas. 1566 - 1568
Bassano, Jacopo (Jacopo Dal Ponte)
The Israelites drinking the miraculous Water
Oil on canvas. 1566 - 1568
Bassano, Jacopo (Jacopo Dal Ponte)

During the sixteenth and seventeenth centuries, Jacopo Bassano and his sons were renowned throughout Europe, but most of all in Spain, after Philip II began acquiring their works in the 1570s. Jacopo was then appreciated as an eminently naturalist painter who specialised in depictions of animals and genre scenes. As the Spanish ambassador to Venice put it in 1574: He is very esteemed for his paint

The Alchemist
Oil on panel. 1631 - 1640
Teniers The Younger, David
The Alchemist
Oil on panel. 1631 - 1640
Teniers The Younger, David

And alchemist, recognizable by his characteristic cap, fans the fire in his laboratory. The presence of books, flasks and other instruments in the foreground reveal his pseudo-scientific activity. In the background, a group of three figures of a certain social standing appear to be discussing the subject from a theoretical standpoint. This work is paired with A Surgical Operation (P01803) and both

Triptych with Episodes from the Life of Christ
Grisaille, Oil on oak panel. Ca. 1440
Master Of The Collins Hours
Triptych with Episodes from the Life of Christ
Grisaille, Oil on oak panel. Ca. 1440
Master Of The Collins Hours

The Triptych in the Museo del Prado labeled as Scenes from the Life of Christ is a pivotal work in the story of Valencian painting in the fifteenth century and in the transmission of the style and technique of Jan van Eyck to the Iberian Peninsula. The panel entered the Prado collection in 1931 from the convent of the Encarnación in Valencia, a Carmelite foundation established in 1502. It w

Saint Luke
Tempera on panel. 1401 - 1435
Sevilla, Juan de
Saint Luke
Tempera on panel. 1401 - 1435
Sevilla, Juan de

The Virgin and Child, known as the Durán Madonna
Oil on panel. 1435 - 1438
Weyden, Rogier Van Der
The Virgin and Child, known as the Durán Madonna
Oil on panel. 1435 - 1438
Weyden, Rogier Van Der

The panel has been trimmed on all four sides but little of the painted surface can have been lost. It is made from two boards of Baltic oak, both from the same tree; the last ring was formed in 1372. Black overpaint conceals areas of damage on our left of the Virgin`s face and on our left of the Child`s head and torso. On our right of the Virgin, a similar area of black overpaint may hide a shadow

Altarpiece of Saint Michael
Tempera on panel. Ca. 1440
Master Of Arguis
Altarpiece of Saint Michael
Tempera on panel. Ca. 1440
Master Of Arguis

This fragmentary altarpiece comes from the church of San Miguel in Arguis (Huesca). It narrates episodes which evoke the supernatural power of the archangel, especially against the actions of the devil: the victory over the rebel angels, the psychostasia or weighing of souls, and the appearance of the saint on Mount Gargano in the form of a bull. Their artist, a master who remains anonymous, is cl

Altarpiece of the Virgin
Tempera on panel. 1435 - 1440
Master Of Torralba
Altarpiece of the Virgin
Tempera on panel. 1435 - 1440
Master Of Torralba

This altarpiece, either from an unidentified location in Zaragoza or from the Calatayud area, has a principal part and a predella. The principal part comprises three sections on two levels and four intermediary sections with saints and prophets. The central section depicts the Virgin and Child and the Crucifixion. From left to right and top to bottom in the side sections are: the Annunciation, the

Altarpiece of Saint Michael (left side panels)
Tempera on panel. Ca. 1440
Master Of Arguis
Altarpiece of Saint Michael (left side panels)
Tempera on panel. Ca. 1440
Master Of Arguis

The three scenes, which come from an altarpiece at the church of San Miguel in Arguis (Huesca), narrate episodes which evoke the supernatural power of the archangel, especially against the actions of the devil: the victory over the rebel angels, the psychostasia or weighing of souls, and the appearance of the saint on Mount Gargano in the form of a bull. Their artist, a master who remains anonymou

Altarpiece of Saint Michael (right side panels)
Tempera on panel. Ca. 1440
Master Of Arguis
Altarpiece of Saint Michael (right side panels)
Tempera on panel. Ca. 1440
Master Of Arguis

The three scenes, which come from an altarpiece at the church of San Miguel in Arguis (Huesca), narrate three episodes of the legend of the archangel: the bishop of Sipontum at Mount Gargano, the apparition of Michael at Monte Sant´Angelo in Rome and the triumph of Michael over the Antichrist. Their artist, a master who remains anonymous, is close to the characteristics of International Gothic pai

Angel with Christ’s Cross
Walnut wood. 1425 - 1435
Maes, Tydeman
Angel with Christ’s Cross
Walnut wood. 1425 - 1435
Maes, Tydeman

This pair of angels with instruments of the Passion (E00493, E00711) was sculpted for export by Maes in Bruges, as the rare signatures on the reverses indicate. The pair comes from a church in northern Spain where the figures flanked an altar or tomb. Neither angel directly touches the instruments of the Passion, covering them with the piece of drapery out of respect. The angel with the cross, its

Angel with Christ’s Cross
Walnut wood. 1425 - 1435
Maes, Tydeman
Angel with Christ’s Cross
Walnut wood. 1425 - 1435
Maes, Tydeman

This pair of angels with instruments of the Passion (E00493, E00711) was sculpted for export by Maes in Bruges, as the rare signatures on the reverses indicate. The pair comes from a church in northern Spain where the figures flanked an altar or tomb. Neither angel directly touches the instruments of the Passion, covering them with the piece of drapery out of respect. The angel with the cross, its

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