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Diana the huntress is resting with her court of Nymphs in a clearing in the woods when she is attacked by a group of Satyrs. Rubens turned this painting into a virtuoso exercise in composition. In the foreground, two volumes lead to the rest of the scene: on the left are the hunting trophies attained by the nymphs, and on the right, a reclining nymph with her back to the viewer, one of the most se
Nothing is known of this middle-aged gentleman with his black doublet and cloak, against which the wide, segmented ruff or gola and the delicate white cuff at his right wrist stand out. At his waist are a belt and a sword belt, both very plain, though essential accessories of aristocratic dress in Spain in the Golden Age. The sitter is depicted three-quarter length and lit from the side with a lig
The pragmatic of January 1623 that dictated a new dress code and has since been used to date what is thought to be the portrait of Pacheco can also be used as a guide for the present work, as the model wears the type of collar that became popular following its application. The tight and detailed brushstrokes, rather hard modeling, and a very directed light are also congruent with Velázquez’
Representación del sitio de Breda, que tuvo lugar entre el 12 de septiembre de 1624 y el 2 de junio de 1625. En primer plano aparece la visita de la infanta gobernadora al campo de batalla tras la victoria, junto a otros personajes entre los que se encuentra Ambrosio de Spinola.El primer dato documental de esta obra lo da el inventario del Alcázar de 1636: ".... el sitio de Breda, con moldura dora
This image can be identified as that of a king and as a portrait of Philip IV on the basis of others of the monarch. In fact, nothing about the clothes or the sitter`s actions suggests his royal status except the easily recognisable physical features of the Habsburg dynasty, in particular the prominent chin.This portrait and the one who is in the National Gallery gave rise to a large number of ver
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
As goddess of the Earth and agriculture, Ceres is depicted wearing a bundle of wheat spikes on her head. Beside her, Pan, the god of shepherds and herds, has a crown of oak leaves. Ceres symbolizes cultivated nature and Pan, wild nature. The horn of plenty and basket of fruit in their laps alludes to the fecundity and fertility of the Earth, which is strengthened by the fruit and vegetables strewn
La obra forma parte de una serie de cuatro lienzos que representan a los Padres de la Iglesia occidental, procedente del convento de Nuestra Señora de la Soledad de Madrid. Son copias de un conjunto realizado en Italia con mucha probabilidad durante el breve pontificado de Gregorio XV Ludovisi (1621-1623) cuyos originales, solo en parte localizados, pueden adscribirse a Giovanni Lanfranco (San Amb
The Virgin sits with the Christ Child in the midst of grandiose classical architecture. She is surrounded by numerous saints in various positions. Above her, some angels prepare to crown her as Queen of Heaven. This work was sometimes thought to be a representation of The Mystical Betrothal of Saint Catherine, because of the strong presence of that saint, who is depicted kneeling before the Christ
This mythological scene is drawn from the Metamorphoses of Roman poet Publio Ovidio Nason, one of the texts on ancient mythology that had the greatest intellectual impact on 17th-century Flemish artists. According to Ovid, Diana had sent an enormous wild boar to ravage the region of Calydon as punishment after the king failed to make the promised sacrifices to her. The king’s son, Meleager, was an
The artist chose the end of a wedding banquet in the country to offer a depiction of rural life during one its most collective moments. Some figures are shown inebriated, others are dancing, kissing and embracing or bringing gifts to the married couple located in the background before a red hanging.
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
Goddess of grains and the harvest, Ceres holds some corn cobs in her right hand while, with the left, she holds a horn of plenty. Two nymphs fill the cornucopia with fruits, symbolizing the Earth´s generosity. The subject is inspired by Ovid´s mythological tales. In this collaboration between two artists, something quite frequent among Flemish painters, Rubens made the figures of the goddess and h
Until 1956, this painting was attributed to Pietro da Cortona, an understandable mistake, given how close Romanelli’s style was to that of his teacher. In fact, it appears as such in Charles II’s will and in the Museo del Prado’s 1845 catalog (p. 373, no. 1623), where it is mentioned for the first time as being on the staircase leading to the new Flemish rooms of the ground floor. In the 1878 cata
This canvas and its companion, Taste, Hearing and Touch (P1404), represent the five senses embodied by female figures in palatial interiors. The sense of smell is conveyed by a woman holding flowers, while Sight contemplates herself in a mirror held by a cherub. They are located in a hall filled with paintings and sculptures, a sort of cabinet of paintings that could reflect an idealized represent
The father of the race of centaurs, Ixion was punished by madness for murdering his father-in-law. After he was pardoned he attempted to supplant Jupiter in Juno’s bed and was consequently condemned to be turned on a wheel for all eternity. Ribera depicts the wheel being set in motion by a satyr who has chained Ixion to it, allowing the artist to display his mastery of anatomy. The canvas is a pai
Wearing black, with a broad, Spanish-style ruff collar and a three-strand necklace that she grasps in her right hand, this lady is presented to the viewer as serene and haughty. The influence of Anthonis Mor (1519-1576) on the conception of this portrait is appreciable in its verticality and its strictly black background. While the model's clothing is of an earlier style, this work has been dated
The dinner guests occupying the center of the composition symbolize the senses. Music and the singing children are hearing, and the young woman petting a mink is touch. The young woman preparing to eat some oysters symbolizes taste, while the monkey pulling on a cupid´s hair also symbolizes touch. Of equal significance are the animals and paintings in the room. The Annunciation on the top of the c
