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The Virgin and Child with Saints Elizabeth, John the Baptist and Catherine
Oil on canvas. 1624 - 1626
Vouet, Simon
The Virgin and Child with Saints Elizabeth, John the Baptist and Catherine
Oil on canvas. 1624 - 1626
Vouet, Simon

This almost family scene shows the Christ Child and Saint John embracing each other while their respective mothers, Mary and Elizabeth, look on. The moment is witnessed by Saint Catherine, who accompanies them. She is leaning on a large wooden wheel, which symbolizes her martyrdom. The Lamb in the lower left corner alludes to the Passion of Christ and saddens the moment with its announcement of hi

The Virgin of Louvain
Oil on panel. Ca. 1520
Orley, Bernard Van
The Virgin of Louvain
Oil on panel. Ca. 1520
Orley, Bernard Van

According to the Latin inscription on the back of this panel, which attributes it to Jan Gossaert, it was acquired by the magistrate of Louvain in 1588 from that city’s Augustinian monks. It was intended as a gift of thanks to Philip II for having waived the taxes and tariffs owed by the inhabitants of Louvain for twelve years after that city was decimated by the plague in 1578. Seeking to give th

Isabel de Valois holding a Portrait of Philip II
Oil on canvas. 1561 - 1565
Anguissola, Sofonisba
Isabel de Valois holding a Portrait of Philip II
Oil on canvas. 1561 - 1565
Anguissola, Sofonisba

This portrait is a full-length likeness of Philip II’s third wife, Queen Isabel de Valois. She wears a black gown with pointed sleeves and a long train that is curled around her body and billows at the back. Poking out from beneath her hanging sleeves, held in place with ruby and diamond buttons and lined in white fabric, are silver and gold undersleeves. The one-piece gown is decorated with appli

The Holy Family of Cardinal Fernando de’ Medici
Oil on canvas. 1584
Allori, Alessandro
The Holy Family of Cardinal Fernando de’ Medici
Oil on canvas. 1584
Allori, Alessandro

Cardinal Fernando de’ Medici gave this canvas to the Minorite seminary of San Francisco de Paula, the saint who kneels in the foreground. The seminary, in Alcalá de Henares, was founded by the influential wife of Bartolomé de Santoyo, Keeper of the King’s Jewels and Royal Secretary. The canvas reflects the new style developed by the painter Santi di Tito in Florence from 1575 onwards

Lady with a Fan
Oil on panel. 1570 - 1573
Sánchez Coello, Alonso
Lady with a Fan
Oil on panel. 1570 - 1573
Sánchez Coello, Alonso

In this half-length portrait, the lady is wearing a dark brown velvet overdress luxuriously ornamented with gold chain-stitched embroidery, slit sleeves, and a high collar open in front in the Flemish style. This is a notable example of Spanish portraiture during the reign of Philip II. To begin with, it is painted on a finegrained reddish tropical wood, mahogany perhaps, a support that was quite

The Conversion of Saint Paul
Oil on canvas. 1590 - 1595
Young Palma (Jacopo Negretti)
The Conversion of Saint Paul
Oil on canvas. 1590 - 1595
Young Palma (Jacopo Negretti)

Saul (Saint Paul) has fallen to the ground beside his horse. He is surrounded by his companions, who flee in fear at the apparition of Christ, represented by the brilliant light in the background. The composition is constructed on the basis of two large diagonals that converge on Saul —the work´s central element— and the strong scorci of its figures foreshadow the baroque movement. This work is a

Christ Justifying his Passion
Oil on panel. Ca. 1565
Morales, Luis de
Christ Justifying his Passion
Oil on panel. Ca. 1565
Morales, Luis de

This work is an example of an exceptional iconography within the subject matter habitually dedicated to the Passion by the painter, and even within that of the European art of his time as a whole. Although his most frequent subjects were the traditional ones of the Ecce Homo (alone or accompanied by executioners, by Pontius Pilate and an executioner, or by the Virgin and St John), Christ at the Co

Noli me Tangere
Oil on canvas. 1630 - 1635
Núñez del Valle, Pedro
Noli me Tangere
Oil on canvas. 1630 - 1635
Núñez del Valle, Pedro

As depicted here, the encounter between Mary Magdalene and the resurrected Christ follows a composition by Dürer. Characteristic of this painter, born in Madrid and trained in Rome, are the human types, the Caravaggesque influence on the colouring and light, and the landscape deriving from Bolognese classicism. The frame is of the Tuscan and Emilian type of the first half of the seventeenth c

Johanna Martens
Oil on canvas. 1625
Moreelse, Paulus
Johanna Martens
Oil on canvas. 1625
Moreelse, Paulus

The work is a three-quarter length portrait of Johanna Martens (1599-1639), the wife of Antonie van Hilten (1586-1670) -Secretary of State of Utrecht (1618-1670), dignified by Prince Maurice of Orange- whom she married in 1620. The portrait enters the Museo del Prado as a work of Paulus Moreelse. Díaz Padrón (1995) interprets the initials on the coat of arms as PM and attributes the

The Holy Family with the Infant Saint John the Baptist, or Madonna of the Rose
Oil on panel transferred to canvas. Ca. 1517
Raphael (Raffaello Sanzio)
The Holy Family with the Infant Saint John the Baptist, or Madonna of the Rose
Oil on panel transferred to canvas. Ca. 1517
Raphael (Raffaello Sanzio)

The first verified Spanish documentation of Holy Family with the Infant Saint John the Baptist or Madonna of the Rose, c. 1517, dates from 1657. In 1642 Wenceslaus Hollar engraved this composition after a painting belonging to Thomas Howard, 21st Earl of Arundel, one of the present work’s probable owners. However, there were copies of the work in Spain in the sixteenth century, including no less t

Infanta Isabel Clara Eugenia and Magdalena Ruiz
Oil on canvas. 1585 - 1588
Sánchez Coello, Alonso
Infanta Isabel Clara Eugenia and Magdalena Ruiz
Oil on canvas. 1585 - 1588
Sánchez Coello, Alonso

Alonso Sánchez Coello was court painter to Philip II and he united two different pictorial styles developed in the mid sixteenth century by Titian and Anthonis Mor respectively. Sánchez Coello´s images are austere in their presentation, yet they include certain symbolic elements that place the sitters in a suitable context easily legible to the viewer. The sitters´ dress and certain

The Incredulity of Saint Thomas
Oil on canvas. 1641 - 1649
Stom, Matthias (Also Called Stomer)
The Incredulity of Saint Thomas
Oil on canvas. 1641 - 1649
Stom, Matthias (Also Called Stomer)

The subject of this painting is taken from the Gospels (John 20:24–28). The scene depicts the moment when Thomas, seeking proof of the Resurrection, places his fingers in the wound in Christ’s right side. This work has been ascribed to Matthias Stom’s Sicilian period, when he combined certain northern European stylistic qualities -for example, the accurate folds of the robes and the expressiveness

James the Great
Fresco painting on mural transferred to canvas. 1604 - 1605
Albani, Francesco
James the Great
Fresco painting on mural transferred to canvas. 1604 - 1605
Albani, Francesco

Annibale Carracci painted these works without previous cartoons as part of a group for the chapel of San Diego de Alcalá at the Church of San Giacomo degli Spagnoli in Rome. This church’s founder, don Diego de Herrera, commissioned Albani and Carracci to paint these works, for which the latter supplied all of the drawings. Badalocchio and Lanfranco were also involved. King Ferdinand VII had

Saint Didacus of Alcalá receiving alms
Fresco painting on mural transferred to canvas. 1604 - 1605
Carracci, Annibale; Albani, Francesco
Saint Didacus of Alcalá receiving alms
Fresco painting on mural transferred to canvas. 1604 - 1605
Carracci, Annibale; Albani, Francesco

Annibale Carracci painted these works without previous cartoons as part of a group for the chapel of San Diego de Alcalá at the Church of San Giacomo degli Spagnoli in Rome. This church’s founder, don Diego de Herrera, commissioned Albani and Carracci to paint these works, for which the latter supplied all of the drawings. Badalocchio and Lanfranco were also involved. King Ferdinand VII had

Saint Lawrence
Fresco painting on mural transferred to canvas. 1604 - 1605
Carracci, Annibale
Saint Lawrence
Fresco painting on mural transferred to canvas. 1604 - 1605
Carracci, Annibale

Annibale Carracci painted these works without previous cartoons as part of a group for the chapel of San Diego de Alcalá at the Church of San Giacomo degli Spagnoli in Rome. This church’s founder, don Diego de Herrera, commissioned Albani and Carracci to paint these works, for which the latter supplied all of the drawings. Badalocchio and Lanfranco were also involved. King Ferdinand VII had

Christ the Saviour appears to Saint Teresa
Oil on canvas. 1629
Cano, Alonso
Christ the Saviour appears to Saint Teresa
Oil on canvas. 1629
Cano, Alonso

This scene is based on Las moradas [The mansions] (1588), the text by the Saint in which she describes her “spiritual marriage” to Christ. Like its pair (P8152), this canvas was part of the altarpiece of Saint Teresa in the monastery of San Alberto in Seville. Both were painted in the same year that Zurbarán executed The Apparition of Saint Peter to Saint Peter Nolasco, which shares the vis

The Sacrifice of Abraham
Oil on canvas. 1585 - 1588
Veronese, Paolo (Paolo Cagliari)
The Sacrifice of Abraham
Oil on canvas. 1585 - 1588
Veronese, Paolo (Paolo Cagliari)

An image of the Old Testament scene (Genesis 22, 1-19) in which, on the orders of God, Abraham prepares to sacrifice his son, Isaac. Seeing that Abraham follows his orders with blind faith, God accepts this as proof of his faithfulness and sends an angel to save Isaac at the last moment, ordering that a lamb be sacrificed in his place. This passage from the Bible is understood as a foreshadowing o

Saint Francis
Fresco painting on mural transferred to canvas. 1604 - 1605
Carracci, Annibale
Saint Francis
Fresco painting on mural transferred to canvas. 1604 - 1605
Carracci, Annibale

Annibale Carracci painted these works without previous cartoons as part of a group for the chapel of San Diego de Alcalá at the Church of San Giacomo degli Spagnoli in Rome. This church’s founder, don Diego de Herrera, commissioned Albani and Carracci to paint these works, for which the latter supplied all of the drawings. Badalocchio and Lanfranco were also involved. King Ferdinand VII had

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