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The Concert
Oil on canvas. Ca. 1640
Falcone, Aniello
The Concert
Oil on canvas. Ca. 1640
Falcone, Aniello

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.

A Sybil
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y
A Sybil
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y

The first known reference to this work dates from 1746, when an inventory of paintings at the La Granja Palace was drawn up. There, it is attributed to Velázquez and identified as a likeness of his wife, Juana, whose father was the painter, Francisco Pacheco. It also specifies that she is holding a board. The linking of anonymous portraits to the lives of their authors was frequent in the 1

The Annunciation
Oil on canvas. 1637
Pereda y Salgado, Antonio de
The Annunciation
Oil on canvas. 1637
Pereda y Salgado, Antonio de

Pointing with its left hand to God the Father, the Archangel Gabriel appears to Mary to tell her that she will conceive a child. The Dove of the Holy Spirit descends in a ray of light above the Virgin. Pereda’s painting combines the detailed description and rich chromatism characteristic of his style.

Village Kitchen
Oil on panel. Ca. 1632
Ostade, Adriaen Van
Village Kitchen
Oil on panel. Ca. 1632
Ostade, Adriaen Van

This work belongs to the so-called peasant interiors, one of the new genres of painting that emerged and developed in Flanders and Holland in the early seventeenth century. In Houbraken and in early inventories they are described as een boertje (a little peasant) or as toeback rookerchen (tobacco smokers). The consolidation and appreciation of this genre was fostered by the satirical and moralisin

Praying Hermit
Oil on canvas. 1637 - 1638
Lemaire, Jean
Praying Hermit
Oil on canvas. 1637 - 1638
Lemaire, Jean

This is the largest of the paintings that Lemaire, a French artist working in Rome, produced for the decoration of the Buen Retiro Palace in Madrid. The architectural ruins and sculptural fragments are real but their arrangement in the scene is imaginary. The identity of the hermit remains unclear.

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

Diego del Corral y Arellano
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y
Diego del Corral y Arellano
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y

Of the people with whom Velázquez must have had contact on a daily basis at the palace, many would have been high functionaries or skilled servants of the court. His own social aspirations included becoming a member of that professional group, which he eventually joined, and he made portraits of some of them, including two now at the Museo del Prado: Diego del Corral, shown here, and his wi

The Immaculate Conception
Oil on canvas. 1636
Pereda y Salgado, Antonio de
The Immaculate Conception
Oil on canvas. 1636
Pereda y Salgado, Antonio de

Among the painters working in Madrid, Pereda possessed one of the most distinctive styles, which derived from his study of Flemish and Venetian painting and is evident in works that combine chromatic richness with heavy impasto and descriptive precision. This Immaculate Conception is a typical example of his style but is iconographically unusual in that the Virgin’s mantle was originally red.

Christine of Lorraine, Grand Duchess of Tuscany
Oil on canvas. Ca. 1609
Allori, Cristofano
Christine of Lorraine, Grand Duchess of Tuscany
Oil on canvas. Ca. 1609
Allori, Cristofano

Standing alongside a velvet curtain with her left hand resting on a buffet covered with a crimson velvet cloth, Christine of Lorraine wears a black robe adorned with gold buttons and holds a fan in her right hand. Duchess of Florence, she was born to Charles II of Lorraine in 1566, married Ferdinand I of Medici in 1589 and died on February 19, 1637.There is a preparatory drawing of her hands at th

Saturn devouring a Son
Oil on canvas. 1636 - 1638
Rubens, Peter Paul
Saturn devouring a Son
Oil on canvas. 1636 - 1638
Rubens, Peter Paul

Portrayed as an old man in accordance with the conventional method that was faithful to prevailing iconographic precepts, in his right hand the god Saturn clasps a scythe, his inveterate attribute, using it to steady himself. At the same time, with impressive bestial energy, he leans over a boy, into whom he sinks his teeth to devour him, while the defenceless creature attempts to kick himself fre

The Death of Hyacinth
Oil on panel. 1636 - 1637
Rubens, Peter Paul
The Death of Hyacinth
Oil on panel. 1636 - 1637
Rubens, Peter Paul

Apollo helplessly contemplates the death throes of his beloved Hyacinth, who was hit by one of the discs the two were throwing in a display of their athletic skills. This is one of the preparatory sketches Rubens made for the painting Jan Cossiers carried out for use in the Torre de la Parada. Rubens based this work on a sketch by Michelangelo, revealing his interest in Renaissance artists.

The Triumph of Death
Oil on panel. 1562 - 1563
Bruegel The Elder, Pieter
The Triumph of Death
Oil on panel. 1562 - 1563
Bruegel The Elder, Pieter

In this moral work, the triumph of Death over mundane things is symbolized by a large army of skeletons razing the Earth. The background is a barren landscape in which scenes of destruction are still taking place. In the foreground, Death leads his armies from his reddish horse, destroying the world of the living. The latter are led to an enormous coffin with no hope for salvation. All of the soci

Saint Christopher
Oil on canvas. 1637
Ribera, Jusepe de, lo Spagnoletto
Saint Christopher
Oil on canvas. 1637
Ribera, Jusepe de, lo Spagnoletto

Like a new Atlas, Saint Christopher crosses the river carrying a child, who is in fact Christ bearing the world. Tradition had it that all those who evoked the saint would not die unconfessed on that day. The subject matter allowed Ribera to juxtapose the colossal size of the saint with the delicacy of the child, creating an image of great expressive power.

Gladiators at a Banquet
Oil on canvas. Ca. 1638
Lanfranco, Giovanni Di Stefano
Gladiators at a Banquet
Oil on canvas. Ca. 1638
Lanfranco, Giovanni Di Stefano

Giovanni Lanfranco painted at least six works that can be related to the commission to decorate the Buen Retiro Palace. The first five are at the Museo del Prado -Auspices in Rome (P236); The Allocution of a Roman Emperor, (P2943); Funeral Rites for a Roman Emperor (P234); Gladiators at a Banquet and Roman Naumachia (P235)- while the sixth, Triumph of a Roman Emperor with two Captive Kings, belong

Portrait of a Girl with a Pigeon
Oil on canvas. Ca. 1620
Vouet, Simon
Portrait of a Girl with a Pigeon
Oil on canvas. Ca. 1620
Vouet, Simon

A smiling girl, seemingly aged around ten, looks out at the viewer, fully engaging our attention. Her relaxed pose contrasts with the rigid conventions of portraiture of this period. The figure is surprisingly similar to the naked girl that represents Beauty in the painting Time defeated by Hope and Beauty by the same artist, also on display in this gallery, in which she seems older, thus proving

The Rape of Europe
Oil on panel. 1636 - 1637
Rubens, Peter Paul
The Rape of Europe
Oil on panel. 1636 - 1637
Rubens, Peter Paul

Europe turns a last glance at her companions, who are located outside the composition, as Jupiter carries her away. The god was profoundly enamored of her and transformed into a bull in order to approach her. This story from Ovid´s Metamorphoses is depicted by Rubens in a very succinct manner in this preparatory sketch for a painting Erasmus Quellinus made for the Torre de la Parada.

The Apotheosis of Hercules
Oil on canvas. 1636 - 1638
Borkens, Jean Baptiste
The Apotheosis of Hercules
Oil on canvas. 1636 - 1638
Borkens, Jean Baptiste

Hércules aparece en obras de autores como Homero, Hesidodo y Peisandros de Rodas, supuesto escritor de sus doce trabajos. También Ovidio habla de él de manera breve en las Metamorfosis, concretamente para este episodio en el Libro IX, (268-272): "(...) Así el tirintio, cuando se desprendió de los miembros mortales, cobra vigor en su parte más noble, y empieza a parecer más grande y a inspirar resp

Deucalion and Pyrrha
Oil on panel. 1636 - 1637
Rubens, Peter Paul
Deucalion and Pyrrha
Oil on panel. 1636 - 1637
Rubens, Peter Paul

Humanity´s rebirth after the flood is represented in Greek mythology through the story of Deucalion and Pyrrha. After surviving the disaster, they threw stones over their shoulders, each of which became a new being. This story is told by the classical poet, Ovid, in his Metamorphoses. This painting is a sketch by Rubens for a painting —now lost— by Jan Cossiers for the Torre de la Parada. Rubens w

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