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Floreal
Oil on canvas. 1915
Pinazo Martínez, José
Floreal
Oil on canvas. 1915
Pinazo Martínez, José

Pinazo´s Floreal is an allegory of the richness and exuberance of the Valencia land, represented with the flowers and fruits carried by some young girls and a young boy, all of them dressed in regional costumes. We don´t know if they are walking to market, with all those fruits, animals and flowers, if they are making an offering to a saint or if they are just an allegory of spring, as in the Fren

Cleopatra
Oil on canvas. Ca. 1640
Reni, Guido
Cleopatra
Oil on canvas. Ca. 1640
Reni, Guido

Cleopatra VII (r. 51-30 BCE) was the sovereign of Egypt and the last representative of its final royal family, the Ptolemaic dynasty. Feeling that all was lost after her armies and those of her Roman lover and consort, Mark Antony (83-30 BCE), were successively defeated and the latter was killed, she chose to end her own life to avoid being captured by their mutual enemy, Octavian, the future Empe

The Fall of the Giants
Oil on canvas. 1636 - 1638
Jordaens, Jacques
The Fall of the Giants
Oil on canvas. 1636 - 1638
Jordaens, Jacques

La caída de los gigantes es un episodio brevemente narrado por Ovidio en sus Metamorfosis, Libro I (151-155), en la cual los gigantes que habitaban la tierra querían llegar al cielo y por ello fueron castigados por los dioses: "(...) Y para que el elevado cielo no estuviera más seguro que la tierra, los Gigantes, se dice, aspiraron al reino celestial, y levantaron montañas apiladas hasta las altas

Beach with Fishermen
Oil on canvas. 1627
Willaerts, Adam
Beach with Fishermen
Oil on canvas. 1627
Willaerts, Adam

This painting is illustrative of the beach scenes monopolised in Utrecht by the Willaerts family, who combined the two typical genres of Dutch painting in their work: seascapes and genre scenes. They are derived from similar compositions by Hendrick Cornelisz. Vroom (ca. 1566-1640), although the lower horizon line employed by Adam Willaerts endows the scenes with greater spatial depth which is fur

Saint George and the Dragon
Oil on canvas. 1606 - 1608
Rubens, Peter Paul
Saint George and the Dragon
Oil on canvas. 1606 - 1608
Rubens, Peter Paul

According to Jacopo de la Voragine´s Golden Legend, Saint George slew the dragon that was terrorizing the people of Silene, saving a princess in peril. In this painting, the Christian hero rides a lively white stallion and brandishes his sword against the monster, which attempts to free itself of the lance stuck in its jaws. Behind them, next to a lamb, the princess looks on. This work was made in

Venus, Adonis and Cupid
Oil on canvas. Ca. 1590
Carracci, Annibale
Venus, Adonis and Cupid
Oil on canvas. Ca. 1590
Carracci, Annibale

Venus, the Roman goddess of Love and Beauty, is accidentally wounded by one of her son Cupid´s arrows, which triggers her passion for Adonis. This love story ends with the tragic death of the hero. The scene is based on book X of Ovid´s Metamorphoses, one of the most important sources of mythology for artists of that time. The composition and pictorial technique in this work are a fine

The Rape of Ganymede
Oil on canvas. 1636 - 1638
Rubens, Peter Paul
The Rape of Ganymede
Oil on canvas. 1636 - 1638
Rubens, Peter Paul

Jupiter was so taken with Ganymede´s beauty that he transformed into an eagle to carry him off to Mount Olympus, where he became his cup-bearer. Rubens drew this story from the classical poet, Ovid´s Metamorphoses (X, 155-161). He depicts the moment when the eagle catches the young shepherd and lifts him into the air. The diagonal composition has a distinctly ascending sense and the lightening bol

Virgin in Heaven
Oil on canvas. Second half of the XVI century
Bassano, Francesco
Virgin in Heaven
Oil on canvas. Second half of the XVI century
Bassano, Francesco

This work is a variation on the painting executed by Jacopo towards 1580 for the main altar of the church of the Capuchins in Bassano del Grappa (Museo Civico, inv. 18), a large work (237 x 155 cm) with over fifty figures that constitutes una sorta di compendio di tutte le positure fatte da Jacopo Bassano per le sue opere (Marini: 1992, p. 298), and which was inspired by Titian´s La Gloria (P432),

Isabella Farnese, Queen of Spain
Oil on canvas. Ca. 1715
Piane, Giovanni Maria Delle
Isabella Farnese, Queen of Spain
Oil on canvas. Ca. 1715
Piane, Giovanni Maria Delle

Isabella Farnese (1692-1766), the daughter of Odoardo II, Prince of Parma, and of Dorothea Sophie of Neuburg, married Philip V of Spain in 1714. This portrait is a replica of one made in Parma by Molinaretto, after the Queen´s arrival in Spain, copying a miniature or a portrait prior to her departure from Italy, and from which she later commissioned replicas that she had brought to Spain, giving a

Marianne of Austria
Oil on canvas. Mid-XVIIcentury
Luycks, Frans
Marianne of Austria
Oil on canvas. Mid-XVIIcentury
Luycks, Frans

Tras la muerte de María Ana el 13 de mayo de 1646 -hija de Felipe III y emperatriz del Sacro Imperio por su matrimonio con Fernando III de Habsburgo-, se hizo necesario reforzar de nuevo los vínculos familiares y políticos entre las dos ramas de la Casa de Austria iniciando las negociaciones para el matrimonio de Baltasar Carlos y su prima Mariana. Con motivo de tal compromiso, "la corte española

Wind. If anyone is to blame in this scene, it is the suit
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Wind. If anyone is to blame in this scene, it is the suit
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 36, Bad Night (G02124) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos. This type of composition was common in that period among Enlightenment critics. Immediate precedents for some of these works may be found in the Sanlúcar and Madrid Albums, but there tend to be important seman

The Literate Ass
Pencil, Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
The Literate Ass
Pencil, Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

A preparatory drawing for the aquatint, Capricho 39, As Far Back as his Grandfather (G02127), this is one of twenty-six pen drawings from the Dreams series that constitutes the basis for the Caprichos. It is taken from a satirical drawing in the Madrid Album that dates from 1794-1795 and is thus earlier than the graphic project for the Caprichos. Unrelated to the engraving’s purpose, the India-ink

Portrait of roman Woman
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio
Portrait of roman Woman
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio

This drawing belongs to the Ajello Sketchbook, a group of fifty-nine unbound pencil drawings that were models for engraving to illustrate a descriptive calendar of sculptures that Philip V and his wife, Elizabeth of Farnesio, had gathered in the Royal Palace of La Granja de San Ildefonso.

Torso of a Youth
White marble. Ca. 150
Roman Sculptor
Torso of a Youth
White marble. Ca. 150
Roman Sculptor

This sculpture reproduces a Greek original of around 410 BC by a follower of Polyclitus. There are numerous copies of that work, known as the "Dresden Youth type" in reference to the best and most complete surviving example, now in the Albertinum in Dresden. From that work it is known that the young athlete was looking pensively at his left hand in which he held a now unknown object.

Roman Woman
White marble. 150 - 155
Roman Sculptor
Roman Woman
White marble. 150 - 155
Roman Sculptor

The portrait is of a mature, high-class lady with a serene and somewhat tired expression. Like many portraits of its era, it imitates the hairstyles adopted in the imperial household, in this case of Faustina the Elder (105-141 B. C.), wife of the emperor Antoninus Pius.

Dionysus
White marble. Ca. 150
Roman Sculptor
Dionysus
White marble. Ca. 150
Roman Sculptor

The Roman copy of a late Hellenistic model (125-100 B. C.) which, on account of its relaxed posture, recalls Praxiteles’ art. The god, who is leaning on a herm, a distinctive feature of the late first century B. C., personifies the abundance of a good life through his soft, sensual body. He was also worshipped in Antiquity as the benefactor of humanity for his gift of wine.

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.

Venus of Madrid
White marble. Ca. 150
Roman Sculptor
Venus of Madrid
White marble. Ca. 150
Roman Sculptor

This sculpture is a Roman copy of a Hellenistic original dating from the second-first century B.C. Stripped of the baroque additions that distorted it, it is part of a large cycle of Venuses linked by similar postures. The beginning of this type of sculpture would seem to lie in a work by Lysipus or his school known through a Roman copy: the Venus of Capua. In it, the goddess, with a nude torso, l

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