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Nativity
Oil on canvas. Ca. 1610
Cajés, Eugenio
Nativity
Oil on canvas. Ca. 1610
Cajés, Eugenio

Eugenio was the son of Tuscan painter Patricio Cajés, who came to Spain to work for Philip II at the monastery of El Escorial. His mother, Casilda de la Fuente, was Spanish. He began studying painting with his father and later moved to Rome (1595-1599), where he discovered two new trends in painting that would largely define the course of art in the 17th century: Caravaggio’s chiaroscuro an

The Annuncation
Oil on panel. Ca. 1565
Morales, Luis de
The Annuncation
Oil on panel. Ca. 1565
Morales, Luis de

In a single sequence, the painting shows the Archangel Gabriel’s greeting to Mary, his announce ment to her that she has been designated as the mother of the son of God, and her acceptance of the divine will (Luke, 1, 26-38). St Gabriel appears on the viewer’s left, kneeling before the Virgin. He is covered in a white tunic constructed with a rich array of solidly drawn folds interspersed with a s

The Agony in the Garden
Oil on canvas. Ca. 1590
Carracci, Ludovico
The Agony in the Garden
Oil on canvas. Ca. 1590
Carracci, Ludovico

The Apostles sleep in the foreground, indifferent to the suffering of Christ who is attended by angels. One holds a chalice, prefiguring the Passion. The artist looked to Correggio (c. 1489-1534) in the treatment of the figures and folds of the drapery, which have details characteristic of a miniature. The canvas was in the Roman collection of the painter Carlo Maratta (1625-1713) and was acquired

Triptych of the Adoration of the Magi
Grisaille, Oil on oak panel. Ca. 1494
Bosch, Hieronymus
Triptych of the Adoration of the Magi
Grisaille, Oil on oak panel. Ca. 1494
Bosch, Hieronymus

The theme of this triptych is the advent of salvation -a message about the universality of Redemption. The Eucharistic meaning inherent in the theme of Saint Gregory’s Mass is also found in The Adoration of the Magi in the wheat stored in the upper part of the hut, above the figure of the Antichrist. Unusually, Bosch includes in his depiction of the Mass of Saint Gregory in semi-grisaille seven Pa

The Painter Francesco Albani
Oil on canvas. 1635
Sacchi, Andrea
The Painter Francesco Albani
Oil on canvas. 1635
Sacchi, Andrea

Between 1635 and 1636 Sacchi left Bologna in order to study the work of Correggio (c. 1489-1534) and the Venetian painters. Before leaving he painted a portrait of his teacher, Albani (1578-1660), aged fifty-six, and kept this image until his death. It was acquired by his pupil Carlo Maratti (1625-1713), from whose collection it passed to that of Philip V after Maratti’s death.

Queen Isabella the Catholic
Oil on panel. Ca. 1490
Anonymous
Queen Isabella the Catholic
Oil on panel. Ca. 1490
Anonymous

This portrait of Isabella I of Castile (1451-1504) is one of the earliest known depictions of the Catholic Queen, shown wearing a jewel she received from her father in a clear reference to dynastic continuity. The panel was painted in the Low Countries or possibly in Britain, where it is documented at a very early date. Given that Isabella never left Spain, it must have been painted from models or

The Virgin and Saint Joseph Adoring the Christ Child
Oil on panel. 1489 - 1504
Maineri Da Parma, Gian Francesco de
The Virgin and Saint Joseph Adoring the Christ Child
Oil on panel. 1489 - 1504
Maineri Da Parma, Gian Francesco de

La actividad artística de Gian Francesco Maineri, nacido en Parma, se desarrolló no obstante de forma principal entre Ferrara, donde sirvió a la corte de los Este, y Mantua, estando documentada su presencia alterna en ambas ciudades desde 1489 hasta 1506. La tabla con La Virgen y San José adorando al Niño del Museo del Prado es muy representativa de su estilo y guarda una estrecha relación con otr

Naval Battle
Oil on panel. First quarter of the XVII century
Anthonisz., Aert (Attributed To)
Naval Battle
Oil on panel. First quarter of the XVII century
Anthonisz., Aert (Attributed To)

The painting represents a sea battle between a Dutch ship displaying the coat of arms of the city of Amsterdam on the prow and an English vessel flying the standard with the Cross of St George. The compositional structure of the seascape situates it in the first quarter of the seventeenth century and in the milieu of Hendrick Cornelisz. Vroom (ca. 1566-1640). The canvas is not in good condition, a

The Fable of Leda
Oil on canvas. 1604
Cajés, Eugenio
The Fable of Leda
Oil on canvas. 1604
Cajés, Eugenio

This companion to The Rape of Ganymede (P119) is Eugenio Cajés’s copy of one of Antonio Corregio’s most famous and important paintings, which was in Spain’s Royal Collections. It presents an erotic episode from Ovid’s Metamorphoses, in which Jupiter takes the form of a swan to gain access to Leda, a nymph. The original, now at the Gemâldegalerie in Berlin, is one of the most prestigious ero

Donor Agneese de Gramme protected by Saint Agnes
Oil on oak panel. Ca. 1494
Bosch, Hieronymus
Donor Agneese de Gramme protected by Saint Agnes
Oil on oak panel. Ca. 1494
Bosch, Hieronymus

Head of a bearded man looking upwards to the left
Red chalk on yellow paper. First third of the XVI century
Parmigianino. Girolamo Francesco Maria Mazzola (Attributed To)
Head of a bearded man looking upwards to the left
Red chalk on yellow paper. First third of the XVI century
Parmigianino. Girolamo Francesco Maria Mazzola (Attributed To)

Traditionally placed in the collection as Michelangelo. This identification of the drawing seems to go back as far as the eighteenth century, when the Martelli family of Florence apparently kept it together with their drawings by Michelangelo and his circle. According to the old Martelli inventory numbers, a sheet of red chalk studies attributed to Michelangelo ´s pupil Antonio Mini was kept as th

The Annunciation
Black chalk, Red chalk on dark yellow paper. Late XVI century
Cesi, Bartolomeo (Attributed To)
The Annunciation
Black chalk, Red chalk on dark yellow paper. Late XVI century
Cesi, Bartolomeo (Attributed To)

In her 1983 catalogue, Mena Marques rightly brought attention to the very high quality of this drawing and suggested the style could be Sienese, from the end of the sixteenth century and the beginning of the seventeenth. Although some Tuscan elements do seem to be displayed here -for example the particular use of the red chalk- the handling has more in common with Emilian drawing of the period. A

The Virgin enthroned with the Christ Child
Alabaster. 1490 - 1500
Siloé, Gil de
The Virgin enthroned with the Christ Child
Alabaster. 1490 - 1500
Siloé, Gil de

This exceptionally fine sculpture is almost identical to the Virgin of the Choir from the Charterhouse of Miraflores (Burgos). The Virgin enthroned and crowned as Queen of Heaven appears as the new Eve, active in man’s redemption after the original sin of Adam and Eve, who are depicted on the arms of the throne. Gil de Siloé was the principal sculptor at the court of Queen Isabel la Cat&oac

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