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Mary, Lady Van Dyck
Oil on canvas. Ca. 1640
Dyck, Anthony Van
Mary, Lady Van Dyck
Oil on canvas. Ca. 1640
Dyck, Anthony Van

In 1640, Van Dyck married Mary Ruthven in England. This lady of Scottish origin died in 1645. He portrayed his wife with her hair pulled back and an oak-leaf headdress alluding to her husband´s name, which means “oak” or “holm oak” in Dutch. She wears a shiny blue dress with a large décolleté, a pearl necklace and a bracelet with which she plays before the viewer in a gesture of clea

Country Life
Oil on canvas. 1620 - 1622
Brueghel The Elder, Jan (Jan 'velvet' Brueghel); Momper II, Joost de
Country Life
Oil on canvas. 1620 - 1622
Brueghel The Elder, Jan (Jan 'velvet' Brueghel); Momper II, Joost de

A broad view of the Flemish countryside, with diverse scenes of peasants carrying out their respective tasks. This is one of the finest examples of the collaboration between Jan Brueghel “the Elder”, who is thought to have painted the figures, and Joos de Momper, who made the landscape. The scene is formed by accumulating various planes that follow each other toward the back, in perspective. The e

The Surrender of Jülich
Oil on canvas. 1634 - 1635
Leonardo, Jusepe
The Surrender of Jülich
Oil on canvas. 1634 - 1635
Leonardo, Jusepe

The capitulation of the Rhenish city of Jülich was one of the most outstanding events at the beginning of the Thirty Years War (1618-1648). Occupied by Maurice of Nassau’s French troops since 1610, Jülich surrendered to an army led by the Marquis of Los Balbases, General Ambrosio de Spínola, who would later triumph at Breda. This event took place after the truce established in 160

Landscape with Shepherds near Roman Ruins
Oil on copperplate. 1622 - 1623
Poelenburch, Cornelis Van
Landscape with Shepherds near Roman Ruins
Oil on copperplate. 1622 - 1623
Poelenburch, Cornelis Van

During the years he spent in Rome, Van Poelenburch began painting scenes of this kind with small-or medium-sized figures, in which the presence of ruins is so powerful that they could almost be said to be the main subject. In the foreground, which is slightly raised, a shepherd and a village woman engage in conversation near a herd of goats. Opening out behind them is a large space populated by nu

Marie de Medici, Queen of France
Oil on canvas. Ca. 1622
Rubens, Peter Paul
Marie de Medici, Queen of France
Oil on canvas. Ca. 1622
Rubens, Peter Paul

Dressed completely in black, with a widow´s headdress and simple jewelry, Marie de Medici is portrayed as the Queen Mother, after having governed France as a Reagent from 1610 to 1617. As one of Rubens´s most outstanding patrons, the queen commissioned him to decorate her Luxemburg Palace in Paris with a series of works that glorified her figure and that of her husband, Henri IV. Rubens began the

Petronella de Waert
Oil on canvas. 1670
Borch II, Gerard Ter
Petronella de Waert
Oil on canvas. 1670
Borch II, Gerard Ter

This painting formed part of the collection of the Marquis of Castro-Serna (Madrid) where, according to Michel (1887) -who repeats information given by Alfonso de Stuers- it appeared in 1887 as a pendant to the portrait of Nicolaes Pancras (whereabouts unknown). Gudlaugsson (1959) assumes that both were replicas of the original portraits of Nicolaes Pancras and Petronella de Waert (current whereab

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 Victory at Fleurus
Oil on canvas. 1634
Carducho, Vicente
The Victory at Fleurus
Oil on canvas. 1634
Carducho, Vicente

This painting depicts the battle of Fleurus, near Brussels, which pitted troops from the Catholic League commanded by General Gonzalo Fernández de Córdoba against Protestant Union soldiers led by Count Ernst von Mansfeld and Prince Christian of Brunswick. The Catholic League’s victory on August 29, 1622 freed Brussels—governed at that time by Isabel Clara Eugenia—from the threat pose

Francisco Pacheco
Oil on canvas. Ca. 1620
Velázquez, Diego Rodríguez de Silva y
Francisco Pacheco
Oil on canvas. Ca. 1620
Velázquez, Diego Rodríguez de Silva y

The second half of the 16th century and the first decades of the 17th saw the rise in Spain of male bust portraits in which the model normally appears against a neutral background with no elements to indicate his profession or identity. Often, the model wears a black suit with a ruff collar to indicate his bourgeois or noble social standing. Mostly, these portraits were made for private use as per

The Adoration of the shepherds
Oil on canvas. 1623 - 1625
Orrente, Pedro de
The Adoration of the shepherds
Oil on canvas. 1623 - 1625
Orrente, Pedro de

This canvas presents one of the most persistent subjects in Pedro Orrente´s substantial output: the Nativity and the Adoration of the shepherds, a popular theme among seventeenth-century Spanish painters. Bucolic scenes were also captured successfully throughout the sixteenth century and much of the seventeenth century by the influential family of Italian painters: Jacopo, Leandro and France

Man with a Lute
Oil on canvas. Ca. 1627
Dyck, Anthony Van
Man with a Lute
Oil on canvas. Ca. 1627
Dyck, Anthony Van

A young man holds a musical instrument that has been identified as a long-necked lute or guitarrón. His black clothing and the dark background leave his flesh tones and the white touches of his collar and cuffs as the only highlights, thus drawing the eye to his face and hands. This was a customary formula in Baroque portraits.The sitter’s expert grasp of his instrument indicates his famili

Saint Joseph's Dream
Oil on canvas. Ca. 1662
Herrera The Younger, Francisco de
Saint Joseph's Dream
Oil on canvas. Ca. 1662
Herrera The Younger, Francisco de

An angel appears to Saint Joseph in his sleep, pointing to the dove of the Holy Ghost as the heavens open in a luminous burst of glory. Under the dove, a group of angels carry a mirror and flowers alluding to the fact that Mary remains a virgin despite her pregnancy. On a mat alongside the saint, we see an adze, a hand drill and other carpentry tools.Saint Joseph’s Dream was a relatively frequent

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

Still Life with Sweetmeats and Glass Vessels
Oil on canvas. 1622
Hamen y León, Juan Van Der
Still Life with Sweetmeats and Glass Vessels
Oil on canvas. 1622
Hamen y León, Juan Van Der

A narrow board bears a small selection of objects and victuals worthy of a snack. Their volumes and qualities are defined by the light, making the various elements stand out on a very dark background. The perceptible influence of Sánchez Cotán and the knowledge of Italian tenebrist painting made this the most unanimously admired still life by Van der Hamen. The view of these sweets b

Battle of Gibraltar, 25 April 1607
Oil on canvas. Ca. 1617
Willaerts, Adam
Battle of Gibraltar, 25 April 1607
Oil on canvas. Ca. 1617
Willaerts, Adam

The arrangement of the composition into parallel planes of colour and the overall stillness of the scene are consonant with Flemish Mannerist landscape painting, which employed a structure of parallel bands of colour. Willaerts continued to use this contrived scheme until well into the seventeenth century, even after it became outdated as a result of the new naturalist trend that swept through Dut

The Painter's Family
Oil on canvas. 1621 - 1622
Jordaens, Jacques
The Painter's Family
Oil on canvas. 1621 - 1622
Jordaens, Jacques

This attractive group portrait, one of the most interesting of the 17th-century Dutch school on account of its bourgeois spirit with aristocratic leanings, is an extraordinary skilful depiction of the artist´s close family. Jordaens portrays himself with his wife Catharina van Noort and their first child Elizabeth, born on 26 June 1617, whose age allows us to date the work approximately. Cat

The Consecration of Saint Ambrose as Archbishop
Oil on canvas. Ca. 1673
Valdés Leal, Juan de
The Consecration of Saint Ambrose as Archbishop
Oil on canvas. Ca. 1673
Valdés Leal, Juan de

The episodes from the life of Saint Ambrose were commissioned from Juan de Valdés Leal (1622-1690) by Ambrosio Ignacio Spínola y Guzmán (1632-1684), Archbishop of Seville, for his private oratory. They are markedly specular in nature given that the saint and archbishop share the same name, ecclesiastical rank and connections with northern Italy. The series was conceived by Sp&

Saint Ambrose absolves the Emperor Theodosius
Oil on canvas. Ca. 1673
Valdés Leal, Juan de
Saint Ambrose absolves the Emperor Theodosius
Oil on canvas. Ca. 1673
Valdés Leal, Juan de

The episodes from the life of Saint Ambrose were commissioned from Juan de Valdés Leal (1622-1690) by Ambrosio Ignacio Spínola y Guzmán (1632-1684), Archbishop of Seville, for his private oratory. They are markedly specular in nature given that the saint and archbishop share the same name, ecclesiastical rank and connections with northern Italy. The series was conceived by Sp&

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