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The Birth of the Virgin
Oil on panel. Ca. 1528
Benson, Ambrosius
The Birth of the Virgin
Oil on panel. Ca. 1528
Benson, Ambrosius

The Holy Family with Angels
Oil on panel. Ca. 1524
Parmigianino. Girolamo Francesco Maria Mazzola
The Holy Family with Angels
Oil on panel. Ca. 1524
Parmigianino. Girolamo Francesco Maria Mazzola

When Parmigianino left his native city of Parma to move to Rome in 1524 he took this painting with him and presented it to Pope Clement VII. This is the artist´s first mature work and one that already reveals the grace that Vasari considered the greatest aesthetic quality of any painting: a gift of nature impossible to learn, combining beauty, delicacy and sweetness.

The Mass of Saint Gregory
Oil on panel. 1515 - 1530
Isenbrandt, Adriaen
The Mass of Saint Gregory
Oil on panel. 1515 - 1530
Isenbrandt, Adriaen

Indebted to the Bruges tradition, the priest holding Saint Gregory’s tiara stems from Jan van Eyck’s Portrait of a Man with Carnation in Berlin and the composition accentuates the sfumato and the grace of Gerard David (c. 1460-1523). However, the architectures and the dynamic poses of the figures also echo Antwerp mannerism.

Saint Dominic of Guzmán
Oil on panel. Ca. 1528
Benson, Ambrosius
Saint Dominic of Guzmán
Oil on panel. Ca. 1528
Benson, Ambrosius

Federico Gonzaga, Ist Duke of Mantua
Oil on panel. 1529
Titian (Tiziano Vecellio)
Federico Gonzaga, Ist Duke of Mantua
Oil on panel. 1529
Titian (Tiziano Vecellio)

On 16 April 1529 Federico II Gonzaga, First Duke of Mantua (1500-1540), apologised to his uncle Alfonso d’Este for retaining Titian: perché ha conienzo un retratto mio qual molto desidero sii finito (because he has started a portrait of me which I greatly desire to be finished). In 1530 a second portrait of Federico in armour is also recorded. Typologically and conceptually, the present por

Sacrifice to Bacchus
Oil on canvas. Ca. 1634
Stanzione, Massimo
Sacrifice to Bacchus
Oil on canvas. Ca. 1634
Stanzione, Massimo

While it is first listed in 1666 at the Alcázar, where it hung alongside Ribera’s Fable of Bacchus or Teoxenia (of which only three fragments have survived: two at the Museo del Prado and one in a private collection), this work’s subject and dimensions suggest it may originally have been commissioned for the Buen Retiro Palace. Along with Finoglia’s Triumph of Bacchus (P7309), Poussin’s Sac

The Virgin crowned by two Angels
Oil on panel. Ca. 1520
David, Gérard
The Virgin crowned by two Angels
Oil on panel. Ca. 1520
David, Gérard

A more than half-length image of the Virgin over a gold background. She holds the Christ Child while two angels crown her as Queen of Heaven. The thistles the Christ Child plays with are a clear allusion to the crown of thorns and the Passion of Christ. The Virgin´s thoughtful mien, gazing at her son with a presentiment of his destiny, gives the painting a melancholy air. The gold background was u

Pietà
Oil on panel. Ca. 1528
Benson, Ambrosius
Pietà
Oil on panel. Ca. 1528
Benson, Ambrosius

Sisyphus
Oil on canvas. 1548 - 1549
Titian (Tiziano Vecellio)
Sisyphus
Oil on canvas. 1548 - 1549
Titian (Tiziano Vecellio)

The literary source for the Furies is Ovid´s Metamorphoses (IV, 447-464) and Virgil´s Aeneid (VI, 457-8), which recounts the eternal sufferings in Hades of Tityus, whose liver was devoured by a vulture as a punishment for having raped Latona; Tantalus, condemned to try to reach food and drink in vain for having killed and cooked his son Pelops as a banquet for the gods; Sisyphus, founder and king

The Holy Family, or 'The Pearl'
Oil on panel. Ca. 1518
Raphael (Raffaello Sanzio)
The Holy Family, or 'The Pearl'
Oil on panel. Ca. 1518
Raphael (Raffaello Sanzio)

Philip IV called this painting The Pearl, as it was his favorite among all those in his collection. The composition was designed by Raphael but part of the execution was delegated to his pupil Giulio Romano (c. 1499-1546). As in other late works by Raphael, we find considerable emphasis on the landscape and contrasts of light, the result of the artist´s re-encounter with the work of Leonardo in Ro

The Embrace at the Golden Gate
Oil on panel. Ca. 1528
Benson, Ambrosius
The Embrace at the Golden Gate
Oil on panel. Ca. 1528
Benson, Ambrosius

Retable of Saints John the Baptist and Catherine
Oil, Tempera on panel. 1410 - 1412
Sevilla, Juan de (Author Of The Original Work); Juan Soreda
Retable of Saints John the Baptist and Catherine
Oil, Tempera on panel. 1410 - 1412
Sevilla, Juan de (Author Of The Original Work); Juan Soreda

This is the central panel of an altarpiece from Siguenza Cathedral, part of which is preserved in the sacristy. It was made up of ten panels distributed into five vertical sections and a predella. The Prado owns five of them. Two key moments marked the history of the altarpiece of Saint John the Baptist and Saint Catherine, originally sited in a chapel at the east end of Sigüenza Cathedral. T

The Sacrifice of Abraham
Oil on panel. Ca. 1528
Sarto, Andrea del (Andrea D'agnolo)
The Sacrifice of Abraham
Oil on panel. Ca. 1528
Sarto, Andrea del (Andrea D'agnolo)

This scene portrays the moment described in the Old Testament (Genesis 22, 1-19) in which, at the orders of Yahweh, Abraham prepares to sacrifice his son Isaac as an offering. Seeing that Abraham follows his orders with blind faith, Yahweh considers his faithfulness to be proven and sends an angel to save Isaac at the last moment, ordering that a lamb be sacrificed in his place. This Bible passage

Marsilio Cassotti and his Wife Faustina
Oil on canvas. 1523
Lotto, Lorenzo
Marsilio Cassotti and his Wife Faustina
Oil on canvas. 1523
Lotto, Lorenzo

Having trained in Venice, probably with Giovanni Bellini, Lorenzo Lotto worked in Treviso (1503-1506), Recanati (1506- 1508) and Rome (c. 1508-1510) before settling in Bergamo.There, between 1513 and 1526, he painted for influential families such as the Tassi, Bonghi, Brembati and Cassotti.The Cassotti, wealthy textile merchants originating from Valle Imagna, used the arts to demonstrate their soc

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

Portrait of a Humanist
Oil on panel. Ca. 1540
Scorel, Jan Van (Attributed To)
Portrait of a Humanist
Oil on panel. Ca. 1540
Scorel, Jan Van (Attributed To)

Although this panel is not documented, it has been attributed to Scorel since its attribution by Hoogewerff in 1923.The artist depicts the unknown humanist half-length in front of a landscape. Scorel’s time in Venice in 1520 acquainted him with the work of the artists working there, in particular Lorenzo Lotto.The latter had a major influence on his portraits, some of which reveal Scorel’s love of

Camilla Gonzaga, Countess of San Secondo, and her Sons
Oil on panel. 1535 - 1537
Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop)
Camilla Gonzaga, Countess of San Secondo, and her Sons
Oil on panel. 1535 - 1537
Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop)

Camilla Gonzaga, daughter of Giovanni Gonzaga and cousin of Federigo II of Mantua, married Pier Maria de Rossi in 1523, with whom she had nine children. The children depicted in the present work are presumably the three eldest:Troilo, the eldest, who succeeded his father, standing next to the youngest of the three, Sigismondo, with Ippolito, the second eldest, on the other side. This is thought to

Virgin and Child Enthroned, with Saints and Angels
Pencil, Grey ink, Grey-brown ink, Wash on brown paper. First half of the XVI century
Alfani, Domenico (Attributed To)
Virgin and Child Enthroned, with Saints and Angels
Pencil, Grey ink, Grey-brown ink, Wash on brown paper. First half of the XVI century
Alfani, Domenico (Attributed To)

Domenico Alfani, an Umbrian associate of Raphael (1483-1520) in Perugino´s studio, remains something of an unknown quantity as a draftsman. Judging from the influences of Domenico Ghirlandaio (1449-1494) and Filippo Lippi (c. 1457-1504), the present drawing –which is only modest in quality and appears to be a copy- seems to reflect a late fifteenth-century Florentine prototype.

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