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Still Life with Animals
Oil on canvas. 1680 - 1690
Hondecoeter, Melchior D´
Still Life with Animals
Oil on canvas. 1680 - 1690
Hondecoeter, Melchior D´

The painting featured here is an example of the characteristic compositions with poultry in which D`Hondecoeter specialised. This type of painting was brought to Utrecht in 1619 by Roeland Savery (1576-1639), who had, in turn, been introduced to this genre -of which the most prominent and influential practitioner was Frans Snyders (1592-1667)- while at the court of Rudolf II of Prague.D`Hondecoete

Landscape with Saint Jerome
Oil on panel. 1516 - 1517
Patinir, Joachim
Landscape with Saint Jerome
Oil on panel. 1516 - 1517
Patinir, Joachim

Patinir shows St Jerome sitting inside the wooden shack that leans against the rocks in the foreground. As with the Landscape with the Martyrdom of St Catherine in Vienna (Kunsthistorisches Museum), the painter here raises the line of the horizon, leading to an increase in the space devoted to the landscape and the consequent reduction of the sky (although this has been cut down still further, it

The Tax Collector and his Wife (so-called Money Changer and his Wife)
Oil on panel. 1539
Reymerswale, Marinus Van
The Tax Collector and his Wife (so-called Money Changer and his Wife)
Oil on panel. 1539
Reymerswale, Marinus Van

The Prado Tax Collector and his Wife (so-called Money Changer and his Wife) dated 1539 and gifted to the museum in 1934 is the second version of this subject recorded in Spain. Thanks to the recent research by Manuel Parada, it can now be identified as the earliest documented work by Marinus. The painting was acquired by Pedro Dávila y Zúñiga (1498-1567), 1st Marquis of Las Na

The Andrians
Oil on canvas. 1523 - 1526
Titian (Tiziano Vecellio)
The Andrians
Oil on canvas. 1523 - 1526
Titian (Tiziano Vecellio)

Having delivered the Bacchus and Ariadne in 1523 Titian then painted The Andrians, also inspired by Philostratus (Imagines I, 25). The scene is set on the island of Andros, a place so favoured by Bacchus that a stream flows with wine. Gods, men and children unite in the celebration of the effects of wine, whose consumption, in Philostratus´ words, makes men rich, dominant, generous to their friend

Emperor Charles V at Mühlberg
Oil on canvas. 1548
Titian (Tiziano Vecellio)
Emperor Charles V at Mühlberg
Oil on canvas. 1548
Titian (Tiziano Vecellio)

This portrait commemorates Charles V’s victory over the Schmalkaldic League at Mühlberg on 24 April 1547. The Emperor is equipped in the manner of the light cavalry with a half pike and wheel-lock pistol. His suit of armour was made around 1545 by Desiderius Helmschmid and has an image of the Virgin and Child on the breastplate, as was customary with Charles’ armour from 1531. Panofsky pointe

The Flagellation
Oil on panel. 1500 - 1505
Fernández, Alejo
The Flagellation
Oil on panel. 1500 - 1505
Fernández, Alejo

The painter who, according to documents, was of German origin, made this work in Córdoba. In order to execute this scene, he used the so-called Prevedari Engraving, made after a drawing by the architect Donato Bramante (c. 1444-1514). This explains how, without having been to Italy, Fernández attained his mastery of the representation of space and knowledge of Renaissance architectur

The Nativity
Oil on panel. 1514 - 1519
Rodrigo de Sojonia (Called Master Of Sigena)
The Nativity
Oil on panel. 1514 - 1519
Rodrigo de Sojonia (Called Master Of Sigena)

The scene comes from the main altarpiece of the monastery of Sijena (Huesca), a set formed by more than thirty panels that were dispersed in the 18th century. The composition, the figurative monumentality, the colouring and the architecture with Italian resonances point us towards Central European painting. The artist was recently identified as Rodrigo de Sajonia, who was living at the monastery w

The Agony in the Garden
Oil on pine panel. 1514 - 1519
Flandes, Juan de
The Agony in the Garden
Oil on pine panel. 1514 - 1519
Flandes, Juan de

In keeping with the Gospel according to Saint Luke (22: 39-46), Christ, far from the disciples, kneels down with his hands separated and prays to the Father to take away the cup of suffering he must drink, represented by the chalice on the rock. The three apostles who accompany him, Peter, John and James, are asleep. The painting comes from the main altar piece of the church of San Lázaro i

The Ascension
Oil on pine panel. 1514 - 1519
Flandes, Juan de
The Ascension
Oil on pine panel. 1514 - 1519
Flandes, Juan de

Hidden by a cloud, Christ ascends to heaven, watched by Mary and the apostles, amongst whom James is placed in a prominent position. He appears with a staff and a pilgrim’s hat. The upper part of Christ’s body is concealed, in order to focus attention on his footprints at the summit of the Mount of Olives. This and three other panels by Juan de Flandes (P02935, P02936, P02938) belonged to the main

Pentecost
Oil on pine panel. 1514 - 1519
Flandes, Juan de
Pentecost
Oil on pine panel. 1514 - 1519
Flandes, Juan de

According to the Acts of the Apostles (2: 1-41), the Virgin and the apostles were gathered in the Upper Room when the Holy Spirit descended on them in the form of tongues of fire. The Holy Spirit is symbolized by the dove which flies over Mary, surrounded by a large circular halo. This and three other panels by Juan de Flandes (P02935, P02936, P02937) belonged to the main altarpiece at the Church

The Holy Family with Raphael, Tobias and Saint Jerome, or the Virgin with a Fish
Oil on panel transferred to canvas. 1513 - 1514
Raphael (Raffaello Sanzio)
The Holy Family with Raphael, Tobias and Saint Jerome, or the Virgin with a Fish
Oil on panel transferred to canvas. 1513 - 1514
Raphael (Raffaello Sanzio)

Seated on a throne, the Virgin holds the Christ Child in her lap. On the right, Saint Jerome dressed as a Cardinal reads the Vulgata (The Bible he, himself, translated into Latin). The Archangel Raphael, with the lion that symbolizes him, stands with Tobias, who holds the fish with which he will cure his father´s blindness. This work is known as The Virgin with a Fish, and was commissioned by Gero

The Raising of Lazarus
Oil on pine panel. 1514 - 1519
Flandes, Juan de
The Raising of Lazarus
Oil on pine panel. 1514 - 1519
Flandes, Juan de

In keeping with the style of his final years in Palencia, this Flemish painter increases the size of the three main figures- Christ blesses Lazurus, who rises from the tomb. His hand rests on the top of the coffin and his eyes have transformed into black pearls. One of his sisters —Martha, according to the Gospel of Saint John (11, 38-44)— kneels and extends her arms to him. The event takes place

Saint Peter healing the lame
Pencil, Pencil ground, Grey-brown ink, Wash on dark yellow paper. Ca. 1606
Cardi, Ludovico
Saint Peter healing the lame
Pencil, Pencil ground, Grey-brown ink, Wash on dark yellow paper. Ca. 1606
Cardi, Ludovico

A decisive breakthrough in the career of the Tuscan painter Lodovico Cigoli came with his contribution to a series of six paintings required for the new altars for St Peter’s Basilica in Rome. According to the reliable account of the Florentine biographer Filippo Baldinucci, the intervention of Grand Duke Ferdinando de Medici was critical towards Cigoli being awarded the contract in 1604 for the l

La Celestina and the lovers
Brush, Pencil, Coloured wash on laid paper. 1784
Paret y Alcázar, Luis
La Celestina and the lovers
Brush, Pencil, Coloured wash on laid paper. 1784
Paret y Alcázar, Luis

This title by which this drawing is known, La Celestina and the lovers, only reveals part of the scene that Paret depicts with extraordinary precision and thoroughness, as is typical of his work. Gaya Nuño has already pointed out that the old woman resembles a witch, as is evidenced by some of the objects arranged around her. But rather than a witch, she is a sorceress, a popular type of ch

Studies of Figures
Pencil, Grey-brown ink on yellow paper. 1560 - 1570
Passerotti, Bartolomeo
Studies of Figures
Pencil, Grey-brown ink on yellow paper. 1560 - 1570
Passerotti, Bartolomeo

The study at the top of the sheet is copied from the torso of Michelangelo´s Risen Christ in S. Maria sopra Minerva, Rome, commissioned in 1514. In the statue, Christ holds the sponge, or cloth, impregnated with vinegar, against the side of the Cross. The inscription Buonarroti was perhaps written as a reference to the model for the principal study. The study of a female head was doubtless taken f

Rock crystal gondola with an enamelled mask on the prow
Gold, Rock crystal / hyaline quartz, Enamel. Ca. 1600
Delabarre, Pierre (Circle Of); Anonymous
Rock crystal gondola with an enamelled mask on the prow
Gold, Rock crystal / hyaline quartz, Enamel. Ca. 1600
Delabarre, Pierre (Circle Of); Anonymous

A vessel made up of three pieces of rock crystal and three enamelled gold mounts. The body is formed by a boat-shaped piece with a figurehead on the prow consisting of a mask with pointed ears and ram’s horns. It is entirely decorated with painted enamel in warm tones with touches of blue. The rock crystal is decorated with some vegetable clusters on the foot and afterdeck, and garlands with fruit

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