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Landscape with a Carthusian (Saint Bruno?)
Oil on canvas. 1636 - 1638
Swanevelt, Herman Van
Landscape with a Carthusian (Saint Bruno?)
Oil on canvas. 1636 - 1638
Swanevelt, Herman Van

The painting entered the Museum holdings as an original work by Jan Both. In 1959 Blunt identifies it as the landscape listed in the 1701 inventory of the Palace of the Buen Retiro and maintains the attribution to Both, as does Roethlisberger (1961). However, Waddingham (1960) ascribes it to Herman van Swanevelt, an attribution backed by Luna (1984) and officially adopted by the Museum in 1985. Th

The Resurrection
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)
The Resurrection
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)

At the top, a nude Christ bears a white banner in his left hand, symbolizing triumph over death. His purple robe signifies sacrifice and martyrdom, while his rhomboidal halo echoes the Byzantine tradition. The soldiers that guard the sepulcher appear surprised and confused by the event, except for one who is asleep. The use of scorcio gives these figures a high degree of dynamism. The borders of t

The Annunciation
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)
The Annunciation
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)

A passage from the New Testament (Luke I, 26-38) that tells of the annunciation of the Virgin´s motherhood by the Archangel Gabriel and the incarnation of Christ in Mary by the Holy Ghost in the form of a dove. The burning bush, which appeared to A passage from the New Testament (Luke I, 26-38) that tells of the annunciation of the Virgin´s motherhood by the Archangel Gabriel and the incarnation o

The Baptism of Christ
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)
The Baptism of Christ
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)

This evangelical episode is divided into two overlapping horizontal zones joined by the dove, which symbolizes the Holy Ghost. On the earthly plane, Christ, nude but for his loincloth, is framed by a red cloak, which is the liturgical color of sacrifice and martyrdom. On the right, Saint John the Baptist appears. He wears a camel skin and, next to him, there is an axe in a tree trunk, which allude

River Landscape
Oil on panel. 1645 - 1648
Schoeff, Johan Pietersz.
River Landscape
Oil on panel. 1645 - 1648
Schoeff, Johan Pietersz.

This is the type of river landscape in which Schoeff specialised. In its compositional arrangement and diverse elements -tree, windmill, fishing boats- it closely resembles the river landscapes painted by Jan van Goyen (1596-1656) in the 1630s, or those produced by Salomon van Ruysdael (1600/02-1670) from the 1640s onwards.The composition is neither detailed nor anecdotal, since its aim is to capt

The Resurrection
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
The Resurrection
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista

On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight months to make the paintings, which had to portray the scenes and episodes specified by the prior of the monastery. Despite the agreement reached in the contract, the paintings were not completed until De

View of El Campillo, the El Escorial Monks' country home
Oil on canvas. Third quarter of the XVII century
Agüero, Benito Manuel de
View of El Campillo, the El Escorial Monks' country home
Oil on canvas. Third quarter of the XVII century
Agüero, Benito Manuel de

This work could be defined as a descriptive landscape combined with a genre scene of everyday life. Small figures inhabit a canvas that presents the buildings at El Campillo—a rest and recreation spot for monks and royalty—in the foreground, where it stands out against a light-colored sky with the Sierra de Guadarrama mountains in the distance.El Campillo, now a private estate along the road linki

Christ carrying the Cross
Oil on canvas. Ca. 1602
el Greco (Domenikos Theotokopoulos)
Christ carrying the Cross
Oil on canvas. Ca. 1602
el Greco (Domenikos Theotokopoulos)

A slightly more than half-length image of Jesus wearing a red tunic and blue robes. Holding the cross with both hands, he rests it on his left shoulder. His head is slightly raised and his watery eyes bear a serene, resigned expression as he looks to the heavens. The crown of thorns on his head is reinforced by a luminous rhomboidal halo. The precisely rendered crown shows each of the tender, inte

Still Life with Flowers, a Silver-gilt Goblet, Dried Fruit, Sweetmeats, Bread sticks, Wine and a Pewter Pitcher
Oil on panel. 1611
Peeters, Clara
Still Life with Flowers, a Silver-gilt Goblet, Dried Fruit, Sweetmeats, Bread sticks, Wine and a Pewter Pitcher
Oil on panel. 1611
Peeters, Clara

It has often been stated that this painting is part of a series of four, all now in the Prado, but that is probably not the case. The dimensions of all four paintings (P1619, P1620, P1621, P1622) are similar, but their provenance is not. This, and Table with Cloth, Salt Cellar, Gilt Standing Cup, Pie, Jug, Porcelain Plate with Olives and Cooked Fowl (P1622), are first documented when they were inv

Tityus in Chains
Oil on canvas. 1590 - 1596
Martínez, Gregorio
Tityus in Chains
Oil on canvas. 1590 - 1596
Martínez, Gregorio

The Giant Tityus was condemned to the punishment of having a vulture endlessly devour his entrails. Martínez was inspired by a composition by Michelangelo which in turn looked to the Hellenistic sculpture of The Laocoön, rediscovered in Rome in 1506. The exceptional nature of this work within Spanish painting of the period, when mythology and the nude were rarely depicted, reflects the

The Crucifixion
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)
The Crucifixion
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)

A night view of Calvary with a markedly Eucharistic character. Mary Magdalene, at Christ´s feet, and three angels collecting the blood of the slain Savior, appear framed by the figures of the Virgin and Saint John the Evangelist. Light and color are used to bring dramatic intensity to the chosen subject, generating a night scene with highly contrasted colors. Some figures, such as that of Mary Mag

Portrait of a Lady of the Van Beijeren van Schagen Family (Theodora van Duvenvoorde?)
Oil on canvas. 1620
Mierevelt, Michiel Jansz. Van
Portrait of a Lady of the Van Beijeren van Schagen Family (Theodora van Duvenvoorde?)
Oil on canvas. 1620
Mierevelt, Michiel Jansz. Van

This painting belongs to the type of representative portrait developed by Mierevelt -restrained, highly detailed compositions focused on carefully reproducing faces and the garments that denote the sitters` social status. Analysis of the micro-samples taken from the background shows that the pigments were applied over a reddish grey-brown imprimatura layer. As is characteristic of Mierevelt’s port

David with the Head of Goliath
Oil on canvas. Ca. 1600
Caravaggio (Michelangelo Merisi Da Caravaggio)
David with the Head of Goliath
Oil on canvas. Ca. 1600
Caravaggio (Michelangelo Merisi Da Caravaggio)

The Bible story (Samuel 1:17) depicted here corresponds to the moment when, as a young shepherd, David kills Goliath, the giant, with his sling and cuts off his head to triumphantly exhibit it. The episode of tying the giant’s tresses to reveal his head has no iconographic precedent and is not explicitly mentioned in the Bible, making this work yet another example of Caravaggio’s originality and i

Still life with basket of grapes and other fruits
Oil on canvas. 1624
Loarte, Alejandro de
Still life with basket of grapes and other fruits
Oil on canvas. 1624
Loarte, Alejandro de

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 still life by him -The Chicken Seller (P08063)- and three more that are attributed to him: Saint John the Baptist (P01308), The Penitent Mary Magdalene (P01309) and The Miracle of Saint Bernard (P03489

Port with Castle
Oil on copperplate. Ca. 1601
Bril, Paul
Port with Castle
Oil on copperplate. Ca. 1601
Bril, Paul

En un puerto, los habitantes de la aldea enclavada en el acantilado que cierra el espacio por la derecha están ocupados en diversas tareas: cargando y afianzando las mercancías en las barcazas ancladas en la orilla, pescando o reparando un bote. En el primer plano, a la derecha, tres hombres se han sentado a descansar en torno a una hoguera encendida bajo un chamizo protegido por las rocas y el ár

Pentecost
Oil on canvas. Ca. 1600
el Greco (Domenikos Theotokopoulos)
Pentecost
Oil on canvas. Ca. 1600
el Greco (Domenikos Theotokopoulos)

This work depicts the moment when the Holy Ghost, in the form of flames, rests on the Virgin and the Apostles on Pentecost day in Jerusalem, as is told in the book of Acts (2: 1-5). The bald, bearded Apostle who looks out at the viewer from the right of the canvas has been identified as a self-portrait, or as a portrait of the artist´s friend, Antonio de Covarrubias. Along with other paintings in

Two allegorical figures, one holding a child in her arms
Pencil, Pencil ground, Grey wash, Grey-brown ink on yellow paper. Mid-XVIcentury
Anonymous
Two allegorical figures, one holding a child in her arms
Pencil, Pencil ground, Grey wash, Grey-brown ink on yellow paper. Mid-XVIcentury
Anonymous

The former attribution to Parmigianino (1503-1540) is untenable. The style suggest knowledge of the work of both Pellegrino Tibaldi (1527-1596) and Samacchini (1532-1577).

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

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