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Four Bunches of Hanging Grapes
Oil on canvas. Ca. 1636
Fernández "el Labrador", Juan
Four Bunches of Hanging Grapes
Oil on canvas. Ca. 1636
Fernández "el Labrador", Juan

Juan Fernández received the nickname “El Labrador” (“The Farmworker”) because he lived in the country, where he specialized in paintings of fruit. Their quality made them popular in the English and Spanish courts, and the artist´s name was mentioned with admiration by the earliest historians of Spanish art. Among that fruit, he developed a special interest in depicting bunches of grapes, fo

Saint Margaret resuscitating a Young Man
Oil on canvas. Ca. 1620
Serodine, Giovanni
Saint Margaret resuscitating a Young Man
Oil on canvas. Ca. 1620
Serodine, Giovanni

This painting is both beautiful in appearance and enigmatic on account of its problems of attribution, its authorship having fluctuated between several artists, all belonging to the aesthetic environment of Michelangelo Merisi, Caravaggio. Indeed, although it is now definitely ascribed to Serodine, some critics still believe it to be the work of the latter. Its history can be traced back to 1647,

The Painter Martin Ryckaert
Oil on panel. Ca. 1631
Dyck, Anthony Van
The Painter Martin Ryckaert
Oil on panel. Ca. 1631
Dyck, Anthony Van

The famous Flemish painter is portrayed almost full-length, sitting in a chair and wearing red robes and a fur coat. This landscape painter and contemporary of Van Dyck had no left arm, which is clearly shown, rather than hidden, in this portrait. In keeping with the Northern tradition of portraiture established by Anthonis Mor (1519-1576) and Adriaen Willem Key (1515/1520 - 1568), Van Dyck places

Still Life with Cardoon, Francolin, Grapes and Irises
Oil on canvas. 1628
Ramírez, Felipe
Still Life with Cardoon, Francolin, Grapes and Irises
Oil on canvas. 1628
Ramírez, Felipe

Because this work is signed and dated, it reveals the existence of a painter by the name of Felipe Ramírez, although art historians know virtually nothing else about him. This lovely example of his work makes it clear, however, that he continued the tradition of the variety of still life cultivated by Juan Sánchez Cotán (1560-1627), an artist who is considered the most origina

Jacob's Journey
Oil on canvas. 1635 - 1665
Lione, Andrea Di
Jacob's Journey
Oil on canvas. 1635 - 1665
Lione, Andrea Di

Like many other works by Andrea di Lione, Jacob’s journey, c.1635-65, was previously attributed to Genoese painter Giovanni Benedetto Castiglione (Il Grechetto). It is one of the most successful landscapes with figures by Lione, who first studied with battle painter Aniello Falcone (1607-1656) and later developed a more bucolic manner under the influence of Castiglione, whom he lived alongside in

The Adoration of the Shepherds
Oil on panel. 1625
Wtewael, Joachim
The Adoration of the Shepherds
Oil on panel. 1625
Wtewael, Joachim

This Adoration of the Shepherds, signed and dated 1625, was executed in the final stage in Wtewael`s career. The intellectual approach to the scene (St Luke 2:15-18), which derives its emotive force from the refined rhythm of contrasting movements and lights, underlines the painter`s faithfulness to the Mannerist aesthetic he learned during his youth in Italy and France.The compositional structure

The Assumption of the Virgin
Oil on canvas. 1631 - 1635
Turchi, Alessandro
The Assumption of the Virgin
Oil on canvas. 1631 - 1635
Turchi, Alessandro

Esta pintura pertenece a una serie, formada inicialmente por nueve Fiestas de Nuestra Señora, que el Cardenal Gaspar de Borja y Velasco (1580-1645), embajador ante la Santa Sede, envió desde Roma en 1635 o antes para la decoración del nuevo oratorio de la reina en el Alcázar. Cinco de las nueve se conservan en el Prado y, al menos tres, se quemaron en el incendio del Alcázar en 1734. Atribuidas pr

Saint Cecilia
Oil on canvas. After 1611
Grammatica, Antiveduto Della
Saint Cecilia
Oil on canvas. After 1611
Grammatica, Antiveduto Della

The Roman saint Cecilia was martyred for her faith. As the patron saint of music she is normally depicted playing an instrument, crowned with flowers and accompanied by the angel who defended her purity. The pronounced contrasts of light in this scene reveal the influence of Caravaggio that was evident in Grammatica’s work from 1605 onwards.

The crucified Christ
Oil on canvas. 1631
Velázquez, Diego Rodríguez de Silva y
The crucified Christ
Oil on canvas. 1631
Velázquez, Diego Rodríguez de Silva y

Unlike the Christ Crucified (P1161) from the convent of San Plácido, whose authorship and extraordinary merits are uncontested, the present work has produced division of opinions among historians. Some do not consider it a work by Velázquez’s hand, while others point out that it bears his signature. Still, it seems rather strange that a painter who preferred not to put his name on hi

Still Life with Fruit and Vegetables
Oil on canvas. 1625
Hamen y León, Juan Van Der
Still Life with Fruit and Vegetables
Oil on canvas. 1625
Hamen y León, Juan Van Der

Juan van der Hamen y León attained notable fame as a painter of still lifes in the court in Madrid. His early death in 1631 explains the concentration of his works from the 1620s, a brief period that nevertheless offers an interesting evolution in the typologies of his paintings, suggesting that he was open to incorporating aspects of other artists´ work. Still life with fruits and vegetabl

Exterior of Saint Peter’s, Rome
Oil on canvas. Ca. 1636
Codazzi, Viviano
Exterior of Saint Peter’s, Rome
Oil on canvas. Ca. 1636
Codazzi, Viviano

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 the right demolished and added the colonnade that exists today. The ceremony taking place in the foreground remains unidentified. The buildings in this canvas were painted by Codazzi, while Falcone was

The Annunciation
Oil on canvas. 1631 - 1635
Turchi, Alessandro
The Annunciation
Oil on canvas. 1631 - 1635
Turchi, Alessandro

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 earlier, for the decoration of the Queen’s new prayer chapel at the Alcázar. Five of those nine works are now at the Prado, while at least three were lost in the fire that damaged that palace in

Still Life with four Bunches of Grapes
Oil on canvas. Ca. 1636
Fernández "el Labrador", Juan
Still Life with four Bunches of Grapes
Oil on canvas. Ca. 1636
Fernández "el Labrador", Juan

Before a dark background, four bunches of grapes are displayed to the viewer in this painting. The bunch occupying the central position, larger than the rest, is coloured blue-violet, while the other grapes are rendered in golden tones. All of the bunches hang from their branches, which in turn hang from strings. The inclusion of the stems allows for the presence of the leaves, which are twisted a

Still Life with a silver tazza, a roemer and oysters
Oil on panel. 1632
Heda, Willem Claesz
Still Life with a silver tazza, a roemer and oysters
Oil on panel. 1632
Heda, Willem Claesz

The painting belongs to the type of still life designated by Vroom as monochrome banketjes, pieces first executed by Heda towards the end of the 1620s that became very popular in the Netherlands and abroad, as illustrated by the fact that there were two in the inventory of Rubens´s property. There are sufficient grounds to interpret these compositions as moralising, religious or allegorical works.

Christ on the Cross
Oil on canvas. 1604
Barocci, Federico
Christ on the Cross
Oil on canvas. 1604
Barocci, Federico

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 from Barocci´s house in Urbino. In the foreground on the right is the Convent of Santa Caterina and the Ducal Palace with the “mercatale” spreading from its base right up to the Hermitage of San Rocco

View of the Gardens of the Villa Medici, Rome, with a Statue of Ariadne
Oil on canvas. Ca. 1630
Velázquez, Diego Rodríguez de Silva y
View of the Gardens of the Villa Medici, Rome, with a Statue of Ariadne
Oil on canvas. Ca. 1630
Velázquez, Diego Rodríguez de Silva y

In late 1629, the thirty-year-old Velázquez went to Italy for the first time, remaining there for more than a year. During this trip he executed various history paintings, some portraits and at least two views of the gardens of the Villa Medici. While there have been differences of opinion about the dating of these views, the fact that the artist stayed at the Villa Medici for various month

Saint Andrew
Oil on canvas. Ca. 1631
Ribera, Jusepe de, lo Spagnoletto
Saint Andrew
Oil on canvas. Ca. 1631
Ribera, Jusepe de, lo Spagnoletto

A man stands before a dark background, portrayed more than half-length with his torso bare and his hair and beard white from age. With his left hand he holds a cross and with his right he holds a hook caught in the mouth of a fish. Both motifs allow us to identify him as the apostle Saint Andrew. The X-shaped cross recalls the one on which he was crucified and the fish with a hook is a reminder th

The ascension of Saint Gennaro
Oil on canvas. 1635
Vaccaro, Andrea
The ascension of Saint Gennaro
Oil on canvas. 1635
Vaccaro, Andrea

Bishop Gennaro (or Januarius) is the patron saint of Naples, and thus the subject of numerous works from that city’s rich school of painting. According to tradition, he was bishop of Benevento during the Diocletianic Persecution in the third century AD. While visiting Pozzuoli, north of the Gulf of Naples, Gennaro was taken prisoner and tortured in various ways, miraculously emerging unscathed. Fi

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