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A partir de la década de los ochenta, el Greco elaboró una interesante iconografía en torno al tema de la Sagrada Familia que continuó trabajando en los años siguientes y del que realizó varias versio [+]
Mary, wrapped in a red tunic, with a white headdress under her blue robes, is depicted here with an intense sense of devotion. The luminous halo alludes to the image´s sacred character and is used by [+]
In the second half of the 16th century, Flemish artists established the mountain view as a new type of landscape and Valckenborch was one of the leading representatives of this genre. Based on real, a [+]
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 he [+]
Lorenzo Lotto`s various depictions of the penitent Saint Jerome span early versions influenced by Albrecht Dürer and Giovanni Bellini (Musée du Louvre, Paris, 1506) and by young Raphael (M [+]
In a lush, wooded landscape on the banks of a quiet river, a nude woman, sitting on a richly colored red cloak, gestures to two male figures posed beside her. Supporting a glazed jug in her lap, she p [+]
There are two classical Floras: the mythological goddess, wife of Zephyrus and an example of marital harmony and fertility; and the legendary Roman prostitute of that name. The two became associated i [+]
The Florentine Bartolomé Carducho arrived at the royal monastery of El Escorial in 1585, two years after El Greco had completed The Martyrdom of Saint Maurice for that building. Philip II was u [+]
These four paintings of flowers and sumptuary objects (P250, P251, P252 and P3239) are part of those sent from Rome to Madrid by Mario Nuzzi and other artists for the decoration of the Buen Retiro Pal [+]
Aunque sus obras derivan de los paisajes de tipo panorámico, Valkenborch se especializa en paisajes montañosos, llenos de detalles, que reflejan un realismo nuevo y a veces una topografía real. En est [+]
This painting entered the Prado as an original by Philips de Koninck (1619-1688), though in the 1873 catalogue it is attributed to Salomon Koninck (1609-1656). Adecade later, in the 1885 edition, Bred [+]
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 wit [+]
Considered a copy of a portrait by El Greco, the more detailed technique deployed here lacks the loose boldness of his brushstroke but the composition and some of the elements within it remain close t [+]
El Greco executed various versions of the Holy Face on the Veil of Veronica, an iconographic motif that became very popular at the end of the Middle Ages. According to the story that developed during [+]
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 elabora [+]
For more than twenty years Eugenio Cajés was court painter, focusing primarily on the production of religious works executed in a delicate style with soft lines and gentle, impassive faces. Thi [+]
This work is an important addition to the Museo del Prado’s collection, as it is signed by an artist from the area of Toledo who made very few paintings. Indeed, the museum has only one other signed s [+]
The portraitee, chamberlain to King Philip II and warden of the Country House, is dressed in black, except for cuffs and frills, his figure silhouetted against a neutral background. His head is covere [+]
