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The Immaculate Conception
Oil on canvas. Ca. 1670
Herrera The Younger, Francisco de
The Immaculate Conception
Oil on canvas. Ca. 1670
Herrera The Younger, Francisco de

This work has recently been added to the donation made by Plácido Arango. It has been convincingly attributed to Francisco de Herrera the Younger due to the similarities between some of its details and those in autograph works by the artist, one of the most influential painters in Madrid and Seville in the mid-seventeenth century.

Immaculate Conception
Oil on canvas. Ca. 1660
Cerezo, Mateo
Immaculate Conception
Oil on canvas. Ca. 1660
Cerezo, Mateo

The Virgin’s facial type, the confident drawing and the forceful rendering of the spatial planes originally led this work to be attributed to Claudio Coello. But in 1986 more precise knowledge of the artistic personality of Mateo Cerezo led Rogelio Buendía and Ismael Gutiérrez Pastor to name him as its author. This attribution has been maintained and it rests on a comparison to signe

Still Life with game birds
Oil on panel. Ca. 1619
Vollenhoven, Herman Van
Still Life with game birds
Oil on panel. Ca. 1619
Vollenhoven, Herman Van

In the immediate foreground, six dead birds arranged on a table that runs parallel to the picture plane stand out against a dark ground. These are, from right to left, three greenfinches, a goldfinch and what appears to be a grouse; the one behind them is difficult to identify. They are all game fowl, making it possible to classify the scene as a still life with game. The light enters from the lef

The Adoration of the Shepherds
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
The Adoration of the Shepherds
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

The penitent Saint Jerome
Oil on canvas. 1652
Ribera, Jusepe de, lo Spagnoletto
The penitent Saint Jerome
Oil on canvas. 1652
Ribera, Jusepe de, lo Spagnoletto

Emerging from a dark background, a half-length image of a man appears in the close foreground, his right shoulder and arm bare, his hair white and long, his features aged. He holds a wooden cross in his left hand and with his right he strikes his chest with a stone. The cross identifies him as a saint; his nakedness and dishevelled appearance indicate he is a hermit or a penitent; the stone with w

Saint Dominic of Guzmán
Oil on panel. 1612 - 1614
Maíno, Fray Juan Bautista
Saint Dominic of Guzmán
Oil on panel. 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

The Surgeon, or The Extraction of the Stone of Madness
Oil on panel. 1550 - 1555
Hemessen, Jan Sanders Van
The Surgeon, or The Extraction of the Stone of Madness
Oil on panel. 1550 - 1555
Hemessen, Jan Sanders Van

A surgeon extracts a stone from a patient´s head. The scene takes place in an urban setting, probably a market. An aged helper holds the patient´s head, along with a youth, who prepares the unguents. Meanwhile, another patient grimaces grotesquely while waiting his turn. Hemessen criticizes the defrauding of patients by depicting the doctor with a sarcastic expression that reveals him as an impost

Saint John the Evangelist in Patmos
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
Saint John the Evangelist in Patmos
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

The Adoration of the Magi
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
The Adoration of the Magi
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

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

The Adoration of the Shepherds
Oil on canvas. 1612 - 1614
el Greco (Domenikos Theotokopoulos)
The Adoration of the Shepherds
Oil on canvas. 1612 - 1614
el Greco (Domenikos Theotokopoulos)

This night scene is set in a narrow, irregular space -a sort of grotto with a gabled opening in the back, consisting of two semi-circular arches. Mary holds her newborn Son, naked on her lap, while Saint Joseph and three shepherds surround them, expressing their fervent devotion to the child. A kneeling ox also contemplates the baby. The compositional ellipse is closed at the top by a group of ang

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

Bishop Rovenius blessing a Family (that of Jacob van Wassenaer?)
Oil on canvas. Ca. 1650
Breenbergh, Bartholomeus
Bishop Rovenius blessing a Family (that of Jacob van Wassenaer?)
Oil on canvas. Ca. 1650
Breenbergh, Bartholomeus

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 Chennevières based on its purported similarity to The Procession (Paris, Musée du Louvre, inv. 6841), then held to be an original work by these artists. From 1942 onwards it is listed as executed by Frans

The Adoration of the Shepherds
Oil on unlined canvas. 1628
Cavedone, Giacomo
The Adoration of the Shepherds
Oil on unlined canvas. 1628
Cavedone, Giacomo

This work repeats the canvas painted in 1613 and 1614 for the Arrigoni Chapel at San Polo Maggiore in Bologna, although there are some differences in the foreground, the Heavens with Putti and the objects that make up the still life. Its contents mix Venetian memories with hints of Caravaggio and an evident debt to Guido Reni, who had recently returned from Rome. There is a preparatory drawing for

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 Penitent Magdalene in the Grotto of Sainte-Baume
Oil on panel. 1612 - 1614
Maíno, Fray Juan Bautista
The Penitent Magdalene in the Grotto of Sainte-Baume
Oil on panel. 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

Young Violinist
Oil on canvas. XVII century
Anonymous
Young Violinist
Oil on canvas. XVII century
Anonymous

This painting was first included in the 1873 edition of the Museo del Prado catalogue, which states that it was rescued from the fire at the Alcázar Palace in Madrid in 1734. However, it is not listed in the inventory of the salvaged works. Hymans assumes it to be an original by Carel Fabritius (1614-1654) or even by Rembrandt (1606-1669). It is the work of a Caravaggist of Utrecht, possibl

The Adoration of the Magi
Oil on canvas. 1631
Núñez del Valle, Pedro
The Adoration of the Magi
Oil on canvas. 1631
Núñez del Valle, Pedro

Within Núñez del Valle’s relatively small surviving output, this composition, which is one of his most typical and best known, reveals both his affinities with Caravaggio’s tenebrist style and with a classicising idealisation that brings him close to painters such as Bartolomeo Cavarozzi and Cecco del Caravaggio. Part of the composition is based on an engraving by the fifteenth-centu

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