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Penitent Magdalen
Oil on canvas. 1583
Veronese, Paolo (Paolo Cagliari)
Penitent Magdalen
Oil on canvas. 1583
Veronese, Paolo (Paolo Cagliari)

Paolo Veronese`s Penitent Magdalene, 1583, reflects the change occurring in Venetian religious painting around 1580. On one hand, the new order of priorities imposed by the Council of Trent (1545-63) emphasised subjects such as the Eucharist, penitence and the martyrdom of the saints. On the other, the Inquisition began to zealously protect decorum in the treatment of sacred subjects. Veronese had

The Birth of Saint John the Baptist
Oil on canvas. Ca. 1635
Gentileschi, Artemisa
The Birth of Saint John the Baptist
Oil on canvas. Ca. 1635
Gentileschi, Artemisa

This canvas is one of a series of scenes from the life of Saint John the Baptist commissioned in Naples from Artemisa Gentileschi, Massimo Stanzione (The Birth of John the Baptist announced to Zacharias (P256), The Preaching of Saint John the Baptist (P257), The Beheading of Saint John the Baptist (P258) and Saint John the Baptist leaving his Father’s House (P291) and a now lost one by Paolo Finog

The Adoration of the Shepherds
Oil on canvas. 1612
Lanchares, Antonio de
The Adoration of the Shepherds
Oil on canvas. 1612
Lanchares, Antonio de

Few works are known by the short-lived Lanchares, an artist of the Madrid school. Notable among his surviving paintings is this nocturnal depiction in which the artist reveals an extensive and very early knowledge of contemporary Italian painting. The use of humble figure types, the meticulous brushstroke, angled composition and in particular the chiaroscuro all look to the Caravaggesque aesthetic

Sailing Boats in a River Estuary
Oil on panel. XVII century
Anonymous
Sailing Boats in a River Estuary
Oil on panel. XVII century
Anonymous

These two seascapes (P1581 and P1582) are traditionally considered pendants. In the Museum’s older catalogues and inventories they are attributed to Cornelis Molenaer (ca. 1540-1589) until 1933. As of 1889, however, it is recorded that Bredius considers them originals by Simon de Vlieger (1600-1653). The highly schematic architecture in the background, the clumsy depiction of the figures and the r

Sailing Boat and Fishing Boat by the Coast
Oil on panel. XVII century
Anonymous
Sailing Boat and Fishing Boat by the Coast
Oil on panel. XVII century
Anonymous

These two seascapes (P1581 and P1582) are traditionally considered pendants. In the Museum`s older catalogues and inventories they are attributed to Cornelis Molenaer (ca. 1540-1589) until 1933. As of 1889, however, it is recorded that Bredius considers them originals by Simon de Vlieger (1600-1653). The highly schematic architecture in the background, the clumsy depiction of the figures and the r

Marco Grimani
Oil on canvas. 1576 - 1583
Tintoretto, Jacopo Robusti
Marco Grimani
Oil on canvas. 1576 - 1583
Tintoretto, Jacopo Robusti

A portrait of Marco Grimani (d. 1583), a Venetian senator and contemporary of Tintoretto. In keeping with the artist´s customary portrait compositions, the sitter appears slightly turned, over a black background, and gazing fixedly at the viewer. The placement of his left arm opens the work´s perspective into a third dimension. This realistic representation of the model is characteristic of Tintor

Family Portrait
Oil on panel. 1583
Key, Adriaen Thomasz.
Family Portrait
Oil on panel. 1583
Key, Adriaen Thomasz.

This group portrait of a middle-class Flemish family, whose identity is now unknown, is one of Key’s finest works in this genre. It has the firm handling evident in his portraits of the 1580s, revealing his outstanding technical ability to convey textures and his mastery of light. Its innovative character is evident when compared with other Flemish family portraits. Key depicts the seven sitters (

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

The Recapture of Bahía de Todos los Santos
Oil on canvas. 1634 - 1635
Maíno, Fray Juan Bautista
The Recapture of Bahía de Todos los Santos
Oil on canvas. 1634 - 1635
Maíno, Fray Juan Bautista

The Recapture of Bahía de Todos los Santos was commissioned from Maíno towards the end of 1634. The artist was still working on it on 24 March 1635, date on which he received the first 18,600 maravedíes on account, corresponding to an order of payment from the Chief Notary of the Council of Aragon, Jerónimo de Villanueva (died 1653). Maíno completed the painting

Expulsion of the Merchants from the Temple
Oil on canvas. Ca. 1585
Bassano, Francesco
Expulsion of the Merchants from the Temple
Oil on canvas. Ca. 1585
Bassano, Francesco

This replica by Francesco of the original painted by his father in 1583-85 (London, National Gallery no. 228) exemplifies how Jacopo´s inventions were transformed and adapted by the bottega, sometimes with surprising results. Francesco was unable or unwilling to attempt the complex spatial arrangement of his father´s work, in which the indoor area opened onto the outdoor space at three points: two

Portrait of a Dutch Woman
Oil on panel. 1583
Ketel, Cornelis (Attributed To)
Portrait of a Dutch Woman
Oil on panel. 1583
Ketel, Cornelis (Attributed To)

Born in Gouda (Netherlands), Cornelis Ketel was active in Delft, Paris, Fontainebleau and London before settling permanently in Amsterdam. His portrait types follow the models established by Anthonis Mor (c. 1520- 1576), as evident in the relationship between the present work and Mor’s Portrait of a married Woman also in the Prado (P2114).

Saint John the Baptist
Oil on canvas. Ca. 1645
Castillo Saavedra, Antonio del
Saint John the Baptist
Oil on canvas. Ca. 1645
Castillo Saavedra, Antonio del

The figure depicted here is recognizable as Saint John the Baptist by his clothing, the lamb that accompanies him, the cross with its banner, the stream running at his feet and the shell with water alongside him, which was his baptismal instrument. He holds a book in his hands, which was not customary in images of him but not unknown in Andalusia, as can be seen, for example, in Juan de Mesa’s scu

Allegory of the Education of Philip III
Oil on canvas. Ca. 1590
Tiel, Justus
Allegory of the Education of Philip III
Oil on canvas. Ca. 1590
Tiel, Justus

Philip III (1578-1621) was the son of Philip II and his fourth wife, Anne of Austria. Tiel portrays Philip while he was heir to the throne. He is depicted standing, full-length, and wearing an elaborate suit of Milanese armour and a helmet. Like Hercules at the Crossroads, he must choose between Virtue and Vice, helped by Chronos who pushes Cupid away while bringing the figure of Virtue closer to

Bearded man, three quarter lenght
Pencil, Grey-brown ink on paper. Ca. 1600
Anonymous
Bearded man, three quarter lenght
Pencil, Grey-brown ink on paper. Ca. 1600
Anonymous

Formerly attributed to Bartolomeo Passerotti (1529-1592), presumably on account of the broad cross-hatching in pen, a technique that is characteristic of drawings by this artist. On the other hand, the figure-type employed in the man´s head seem distinctly Florentine, and the handling perhaps more suggestive of the pen drawings of the Florentine Sigismondo Coccapani (1583-1643).

Holy Family, Accompanied by an Angel and Two Saints
Pencil, Pencil ground, Grey-brown ink, Wash on brown paper. XVI century
Passerotti, Bartolomeo
Holy Family, Accompanied by an Angel and Two Saints
Pencil, Pencil ground, Grey-brown ink, Wash on brown paper. XVI century
Passerotti, Bartolomeo

The invention and handling are in fact typical of Passerotti’s more rapidly drawn sketches. Compared with the better-known, finished pen studies, such as Male Head (D1781), his pen line here seems all of a sudden euphorically liberated. The halftones, instead of being indicated by dense cross-hatching, are brushed in with fluid brown washes. For comparison with the present sheet, a good example of

The Virgin and Child
Red chalk on paper. Ca. 1606
Arpino, Il Cavaliere D'
The Virgin and Child
Red chalk on paper. Ca. 1606
Arpino, Il Cavaliere D'

This drawing was formerly placed under the name of the French painter Jacques Blanchard (1600-1638), to whom it is traditionally attributed. The style, however, points directly to the work of the late Mannerist Roman painter the Cavaliere d’Arpino. He was especially fond of red chalk and his finished studies in the medium have a graceful, almost porcelain-like finish similar to that found in his p

Studies of Figures and Animals
Pencil, Grey-brown ink on brown paper. Late XVI - Primer cuarto del siglo XVII century
Villamena, Francesco (Attributed To)
Studies of Figures and Animals
Pencil, Grey-brown ink on brown paper. Late XVI - Primer cuarto del siglo XVII century
Villamena, Francesco (Attributed To)

This adn the following eight drawings appear to be by the same mediocre hand, by whom there are several other drawings in the Prado scattered throughout the collection under a number of different attributions. Some carry old attributions to Villamena. while others do not have his name but are connected with the group by virtue of their style and execution; and they are here catalogued as from the

Meleagrus' Hunt
Gilt-bronze. 1583 - 1584
Bandini, Giovanni Di Benedetto
Meleagrus' Hunt
Gilt-bronze. 1583 - 1584
Bandini, Giovanni Di Benedetto

The classical hero, accompanied by his dogs, takes on the wild boar of Caledonia who was devastating Attica, as told in the well-known mythological tale. This theme often appeared on sarcophagi and ancient sculptures that came to light during the Renaissance, inspiring numerous artists. With this sculptural group, Bandini sought to show the Duke of Urbino his skills with bronze after the latter ch

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