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Alonso Martínez de Espinar (¿?)
Oil on canvas. XVII century
Anonymous
Alonso Martínez de Espinar (¿?)
Oil on canvas. XVII century
Anonymous

Se identifica al personaje como Alonso Martínez de Espinar (h.1594-1682), ayuda de cámara del príncipe Baltasar Carlos y del propio monarca, entre cuyos cometidos estaba el de acompañar a Felipe IV durante las cacerías y entregarle el arcabuz. en este mismo ministerio le ayudaba también Juan Céspedes.Hombre muy experto en caza escribió y publicó una obra titulada Arte de la ballestería y montería

Portrait of a Man
Oil on panel. Ca. 1620
Anonymous
Portrait of a Man
Oil on panel. Ca. 1620
Anonymous

The 1910 catalogue states that Bredius attributed this painting to Jacop Gerritsz. Cuyp (1594-1652), ascription that was officially accepted by the Museum in 1985. However, neither the typology nor the style correspond to Cuyp`s portraits. Moreover, the oval-shaped panel is characteristic of Amsterdam portraitists. Fred Meijer thus believes that this could be the work of a painter who belonged to

Southern Landscape with Shepherds beneath a Ruined Arch
Oil on canvas. Ca. 1647
Asselijn, Jan
Southern Landscape with Shepherds beneath a Ruined Arch
Oil on canvas. Ca. 1647
Asselijn, Jan

This scene belongs to the type of Italianate landscape which Asselijn cultivated in Holland based on drawings and sketches made from the life during his stay in Rome. Blankert (1965) dates the work to 1648. However, Steland-Stief (1971) believes it to have been painted around 1647, the first year Asselijn is documented in Amsterdam after returning from Italy, on account of the stylistic similarity

Queen Mariana of Austria
Oil on canvas. Ca. 1670
Carreño de Miranda, Juan
Queen Mariana of Austria
Oil on canvas. Ca. 1670
Carreño de Miranda, Juan

After the death of Philip IV in 1665, his widow Mariana (1634-1696) became regent. She is depicted here as both widow and regent in the Hall of Mirrors in the Alcázar in Madrid. The writing implements on the desk allude to her responsibilities as ruler. The overt inclusion of the royal palace into the royal portrait is one of the features that characterises the court portrait after Vel&aacu

Jupiter and the Gods urging Apollo to take back the Reins of his Chariot
Oil on panel. 1594
Cornelisz. Van Haarlem, Cornelis
Jupiter and the Gods urging Apollo to take back the Reins of his Chariot
Oil on panel. 1594
Cornelisz. Van Haarlem, Cornelis

The frieze arrangement of the figures places this work in the painter`s classical phase, which began in 1594, the same year as the date on this painting. In Van Thiel`s view, it could be the picture which the Haarlem City Council acquired from the painter in 1594, and which was presented as a gift to Coenraet Dircksz. de Rechtere in around 1601-08, in gratitude for services rendered between 1574 a

The Crucified Christ
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y
The Crucified Christ
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y

Stylistically, this work appears to have been made in the early 1630s -soon after the artist returned from Italy- and most authors date it from around 1632. The Apollonian perfection of the anatomy and the figure`s pale complexion recall the neo-Attic character of Guido Reni`s work, but it must have been Velázquez`s intention to imbue the figure with a divine and ineffable beauty, reflectin

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

The Virgin and Child with the Infant Saint John the Baptist
Oil on panel. 1599 - 1600
Carracci, Annibale
The Virgin and Child with the Infant Saint John the Baptist
Oil on panel. 1599 - 1600
Carracci, Annibale

This late work whose composition recalls those of Raphael, is listed in the 1746 inventory of the La Granja Palace as a panel by Aníbal Caracho’s [sic.] hand, Our Lady sitting on the ground with the Infant Jesus on her lap and Young Saint John alongside, one third [of a rod] in diameter. Born in Bologna in 1650, Anibal Carracci was the younger brother of Agostino and cousin of Ludovico. In

The Martyrdom of Saint Lawrence
Oil on canvas. 1622 - 1624
Valentin de Boulogne (Jean Valentin)
The Martyrdom of Saint Lawrence
Oil on canvas. 1622 - 1624
Valentin de Boulogne (Jean Valentin)

The Martyrdom of Saint Lawrence, 1620s, is the only painting by Valentin de Boulogne in the Museo del Prado. One of his most ambitious works, it was almost certainly painted in the mid 1620s. It depicts the martyrdom of Deacon Lawrence (c.225–258), who was executed on a grill for refusing to surrender the Church´s treasures to Emperor Valerian. Instead, the deacon distributed them among the needy.

Moses Striking Water from the Rock
Oil on canvas. 1743 - 1744
Giaquinto, Corrado
Moses Striking Water from the Rock
Oil on canvas. 1743 - 1744
Giaquinto, Corrado

Moses Striking Water from the Rock and The Bronze Serpent are related to frescos on the same subjects in the apse of the basilica of Santa Croce in Gerusalemme in Rome. Those decorations commissioned in 1743 by the procurer general of the Cistercians and abbot of Santa Croce, Raimondo Besozzi, were paid by Pope Benedict XIV. As was his custom, Giaquinto painted various versions of the compositions

The Virgin of the Chair
Oil on canvas. 1624 - 1625
Reni, Guido
The Virgin of the Chair
Oil on canvas. 1624 - 1625
Reni, Guido

Sitting on a sumptuous chair, the Virgin tenderly contemplates the nude Christ child, whose expression is pensive and informal. Above them, two cherubs crown Mary. Michelangelo’s sculpture, the Madonna of Bruges has been mentioned as a possible influence, as both combine a carefree Christ child with a solemn mother.After Bolognese classicism went out of fashion in the second half of the 19th centu

The Last Supper
Oil on canvas. 1593 - 1594
Carracci, Agostino
The Last Supper
Oil on canvas. 1593 - 1594
Carracci, Agostino

Together with his brother Annibale and his cousin Ludovico, Agostino Carracci founded the so-called Accademia degli Incamminati in Bologna. Its teachings promoted the study of nature and the work of the great Renaissance masters in order to avoid the overly-complex forms of Mannerist painting. While the colouring and handling of this canvas are influenced by Tintoretto, the monumental figures of t

David defeats Goliath
Oil on canvas. 1590 - 1595
Young Palma (Jacopo Negretti)
David defeats Goliath
Oil on canvas. 1590 - 1595
Young Palma (Jacopo Negretti)

David is depicted as a child carrying the giant’s head and accompanied by soldiers. On the right, women hail him with musical instruments. The event is referred to in the Bible (1 Kings 18). After the death of Titian (1576), Paolo Veronese (1588), Jacopo Bassano (1592) and Jacopo Tintoretto (1594), this painted Venetian scene was left in the hands of very cautious heirs: Domenico Tintoretto, Carle

The Banquet of Herod
Pencil, Pencil ground, Grey-brown ink, Wash on paper. Early Finales del siglo XVI - XVII century
Maganza, Alessandro
The Banquet of Herod
Pencil, Pencil ground, Grey-brown ink, Wash on paper. Early Finales del siglo XVI - XVII century
Maganza, Alessandro

Maganza´s work belongs to the mainstream of painting in the Veneto during the last years of the sixteenth century and the first decades of the seventeenth. His drawings, especially, reveal the influence of both Antonio Zelotti (1526-1578) and, more importantly, Hans Rottenhammer (1564/65-1625), the German-born painter who established a studio in Venice shortly before 1600, where he resided f

Studies for a section of architectural decoration [Galleria Farnese(¿?)]
Pencil, Grey-brown ink, Wash on dark yellow paper. 1597 - 1601
Carracci, Annibale
Studies for a section of architectural decoration [Galleria Farnese(¿?)]
Pencil, Grey-brown ink, Wash on dark yellow paper. 1597 - 1601
Carracci, Annibale

Annibale Carracci established the early Baroque style in Italy with Caravaggio (1571-1610). Annibale`s naturalistic style was based on the Antique and on Raphael, and unlike Caravaggio`s sombre realism, continued the representational tradition of the Italian Renaissance. Annibale`s style evolved in Bologna, where he worked together with his brother Agostino (1557-1602) and their cousin Ludovico. I

The Magdalen
Pencil, Grey-brown ink, Wash on paper. Early Finales del siglo XVI - XVII century
Young Palma (Jacopo Negretti)
The Magdalen
Pencil, Grey-brown ink, Wash on paper. Early Finales del siglo XVI - XVII century
Young Palma (Jacopo Negretti)

Palma Giovane was one of the leading artists active in Venice at the turn of the century, his career continuing well into the second quarter of the century following. He was, moreover, among the most prolific draftsmen of the period. His drawing style reveals a number of important, mostly Venetian influences, ranging from Titian (c. 1485-1576) and Domenico Campagnola (1500-1564), to Tintoretto (15

Prayer in the Garden
Gouache / tempera on paper. Late XVI - Primer tercio del siglo XVII century
Tintoretto, Domenico
Prayer in the Garden
Gouache / tempera on paper. Late XVI - Primer tercio del siglo XVII century
Tintoretto, Domenico

As Anna Forlani has observed in a note on the museum mount (1980), this drawing is a typical work of the son of Jacopo Tintoretto (1519-1594), Domenico, who was taught by his father and assited him in his workshop. The drawing has been extensively restored, especially in the lower half of the design, presumably in the eighteenth century.

Design for an Altarpiece, with the Virgin and Child Appearing to Four Saints
Pencil, Pencil ground, Red chalk, Grey-brown ink, Wash on yellow paper. Early XVII century
Passignano (Attributed To)
Design for an Altarpiece, with the Virgin and Child Appearing to Four Saints
Pencil, Pencil ground, Red chalk, Grey-brown ink, Wash on yellow paper. Early XVII century
Passignano (Attributed To)

There seems little stylistic evidence to support the traditional attribution to Passignano. The drawing may be Cremonese, since there is some resemblance to the work of Giovanni Battista Trotti, called "Malosso" (1556-1619) and of his pupil and associate Ermenegildo Lodi (fl. 1594-1630). St. Andrew is one of the four saints represented. The altarpiece was probably commissioned to decorate the chur

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