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Along with its religious emotiveness and the perfect rendering of Christ´s anatomy, the most attractive aspect of this composition is the landscape, which reproduces the view of the via San Giovanni f [+]
Wearing a white tunic and bearing the standard of victory, Christ leans toward Adam and Eve who, nude, hope to be rescued from Limbo and taken to the Kingdom of Heaven. This passage appears in the Apo [+]
The flat gray stone surface with a hollow in the left foreground bears various sorts of produce, mostly fruit and nuts. This, in turn, draws attention to a deep dish filled with walnuts in the middle [+]
Eugenio was the son of Tuscan painter Patricio Cajés, who came to Spain to work for Philip II at the monastery of El Escorial. His mother, Casilda de la Fuente, was Spanish. He began studying p [+]
This painting depicts the façade of Saint Peter’s as it was designed by the architect Carlo Maderno and before the re-modelling undertaken by Gian Lorenzo Bernini, who had the clock tower on th [+]
This painting entered the holdings of the Museo del Prado as an anonymous Flemish work, although the 1873 catalogue reports the attribution to the Le Nain brothers proposed by M. de Chennevière [+]
Baltasar Carlos (1629-1646) was the son of Philip IV and the heir to the throne. He is depicted here shortly before his early death in an image that adheres to the type devised by Velázquez for [+]
Recent restoration has enabled a much better appreciation of this picture, since the thick layer of oxidised glaze that previously covered the surface made it impossible to judge the space and depth o [+]
This work comes from the church of Santa Ana in Lucena (Córdoba) where Mohedano was born, although it has also been attributed to the Cordovan artist Antonio del Castillo (1616-1668). The monum [+]
The presence of portraits of children in the painting collections of the Spanish Austrians can be found all throughout the sixteenth century. In the 1570s this sub-genre became more highly developed a [+]
Primarily known as one of Spain’s most original still-life painters, Sánchez Cotán’s numerous religious works are characterised by the idealisation of the figures, concise line, pale col [+]
A portrait of a Venetian soldier wearing armor. He holds a baton in his right hand and his weapons in his left. Turned, he extends his arm toward the viewer, thus opening a third dimension in this com [+]
A male figure smokes and drinks, directing an expressive glace at the viewer. Behind him, a companion is inside a tavern filled with vats, basins and barrels. The protagonist has been identified as a [+]
Peasants or villagers hold a feast in front of a tavern or inn, recognizable by its red flag. They drink, eat and dance to the music of a bagpiper standing on a barrel. On the left, various distinguis [+]
This panting belongs to a series consisting, initially, of nine Feasts of our Lady that Spain’s ambassador to the Vatican, Cardinal Gaspar de Borja y Velasco (1580-1645), sent from Rome, in 1635 or ea [+]
Educated as a young man in France and Florence, in 1527 Pier Maria Rossi (1504-1547), Seventh Count of San Secondo, was in the service of Clement VII but that same year entered the employment of Charl [+]
This pair of portraits (P01220 and P01222) combines several aspects of Spanish portraiture of the Baroque period. In principle, the figures of Philip IV and his second wife, Mariana of Austria, are a [+]
After a documented stay in Rome and a highly probable visit to Parma to study Correggio, Barocci returned to Urbino in 1576. When he painted this work for Francesco Maria II della Rovere, Duke of Urbi [+]
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