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This is one of the few winter scenes painted by Hendrick Dubbels still preserved today. In the Museum`s catalogues it is described as a scene with skaters, although only three of the many characters depicted here are actually skating, and one is putting on skates. The 1873 and 1878 editions state that, despite the signature, some consider this to be by Bonaventura Peeters; the 1885 publication men
In addition to the Roemer goblet, other glasses common in this kind of monochrome still life presented here include the Berkemeyer, in this case tipped over and broken, and the delicate Façon-de-Venise wineglass, in fashion at the time and likewise made in the Netherlands. Also featured is an exquisitely decorated silver goblet. Alongside them is a knife with a sheath and an open clock that
Paolo Domenico Finoglia was deeply involved in the creation of paintings for the History of Rome cycle at the Buen Retiro Palace. His participation includes this superb Triumph of Bacchus, a Gladiators’ Fight (Patrimonio Nacional, Inv. 10022324) and a painting with a very obscure subject traditionally known as Masinissa Mourning Over the Death of Sophonisba (P2280). This final work was even attrib
The thin naked torso, the cloth made from rushes, the skull and the book suggest that the figure in the painting is a hermit; the bread crust in the foreground tells us that it is Saint Paul, the first hermit, who was brought half a loaf of bread every day by a raven.
On June 5, 1625 the Dutch governor of Breda, Justinus van Nassau, surrendered the keys of that city to Ambrosio Spínola, the Genoese general commanding the Spanish tercios (a group of soldiers that included pikemen, swordsmen and musketeers) of Flanders. Breda`s extraordinary strategic importance made it one of the most disputed cities in the Spanish monarchy`s prolonged war against the Uni
Series of Apostles became very popular during the Counter-reformation; they were usually half-length figures against a neutral background, holding their iconographical attributes. One of the most important series is the one that Ribera painted around 1630. It is mentioned for the first time in the Royal Collection towards the end of the eighteenth century and is made up of paintings of varying qua
One of the most distinguished components of Velázquez` oeuvre is his gallery of buffoons (or, as we would generally call them in English, jesters), dwarves, and other men of amusement who entertained the king of Spain and his court in idle moments. Although Velázquez was not the only artist who portrayed these entertainers, none other, either before or after, approached the subject s
Falcone painted the figures in this painting; the Neapolitan specialist Luca Forte probably painted the vase of flowers on the left. It looks like a portrait gallery of real people, one of whom -the bearded man on the right- appears in other paintings by Falcone. The painting comes from the collection of the Duke of Medina de las Torres, viceroy of Naples between 1637 and 1644.
The Cardinal-Infante is depicted in full body armor, with a black hat, a staff and a red sash. He is portrayed as a general of the Spanish Armies during the Battle of Nördlingen when, in 1634, they took on the Protestant army. Near him, the allegory of fury and the eagle and lightening bolts of Jupiter allude to his dashing force. A battle scene occupies the background. Rubens painted this wo
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
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
This still life forms part of the group of paintings Vroom dubbed monochrome banketjes or monochrome still lifes which were started in 1629 by Willem Claesz. Heda, but which Pieter Claesz. cultivated with equal mastery, to the point that these two painters are considered its leading exponents. The work is dated 1637 and signed with Claesz´s typical monogram and the enigmatic word TÉNESIUS I
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
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
The half-length figure of an old man is depicted against a dark background. He looks at the viewer out of the corner of his eye, with his torso turned slightly to the left and his head to the right, as he holds a candle in his right hand to light up a manuscript in his left, of which we can only see the back. Old Man reading by Candlelight is clearly a night scene, a genre in which Schalcken speci
Series of Apostles became very popular during the Counter-reformation; they were usually half-length figures against a neutral background, holding their iconographical attributes. One of the most important series is the one that Ribera painted around 1630. It is mentioned for the first time in the Royal Collection towards the end of the eighteenth century and is made up of paintings of varying qua
The date of this painting has been the subject of critical debate for over a century. The 1889 edition of the Prado catalogue states that it was signed but fails to mention a date. The 1910 version describes it as being signed and dated in 1620. The question is not addressed in subsequent publications until that of 1985, which refers to it as being signed and dated in 1630, the year that is again
