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Joseph and the Wife of Putiphar
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti
Joseph and the Wife of Putiphar
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti

Joseph is a handsome and virtuous slave falsely accused of rape by his master´s wife, whose advances he has rejected. He is imprisoned, but eventually raised to the highest office by Pharaoh (Exodus: 39). Joseph and the Wife of Putiphar and Susannah and the Elders (P386) can be understood as parables of righteousness threatened and preserved, but here -as was usual for artists of the Renaissance a

Landscape with Shepherds
Oil on panel. Early Segunda mitad del siglo XVII - XVIII century
Boudewijns, Adriaen Fransz
Landscape with Shepherds
Oil on panel. Early Segunda mitad del siglo XVII - XVIII century
Boudewijns, Adriaen Fransz

Paisaje con grupos de pastores y caminantes; a la derecha, un río o laguna con barcas y pescadores; fondo montañoso con vista de un pueblo fortificado. Las figuras de esta obra (así como las de las obras P1371 a P1379) se atribuyen a Peeter Bout.

Saint Francis Xavier in a Garland
Oil on canvas. 1635 - 1651
Seghers, Daniel
Saint Francis Xavier in a Garland
Oil on canvas. 1635 - 1651
Seghers, Daniel

Saint Sebastian
Oil on canvas. 1636
Ribera, Jusepe de, lo Spagnoletto
Saint Sebastian
Oil on canvas. 1636
Ribera, Jusepe de, lo Spagnoletto

Over the course of his career, Jusepe de Ribera Spanish repeatedly explored certain devotional subjects, among them Saint Bartholomew, Mary Magdalene, Saint Jerome, and Saint Sebastian. The latter is a recurring figure whom Ribera depicted both in the traditional manner, pierced by multiple arrows, and in the less-frequent presentation, being cured of the resulting wounds by Saint Irene. Ribera´s

Passage from the Life of Saint Francis
Oil on canvas. Second half of the XVII century
Cabezalero, Juan Martín
Passage from the Life of Saint Francis
Oil on canvas. Second half of the XVII century
Cabezalero, Juan Martín

On the shore, Saint Francis receives a young man dressed in a black habit, ruff collar and hat, whom Christ carries over the water. In the background: a boat and an embankment with two figures.This canvas is from the Carmelite convent of San Hermenegildo in Madrid, where, without describing it, Ponz lists it as a work by Cabezalero paired with another, now at the Alte Pinakothek in Munich, that i

The Archduke Leopold William in his Picture Gallery in Brussels
Oil on copperplate. 1647 - 1651
Teniers The Younger, David
The Archduke Leopold William in his Picture Gallery in Brussels
Oil on copperplate. 1647 - 1651
Teniers The Younger, David

Depictions of painting galleries became popular in the Netherlands at the beginning of the 17th century. The exhibition of paintings and other artistic or natural objects was originally a way of manifesting the high social standing of an eminently bourgeois class with a strong desire to ennoble itself. In many cases, the paintings did not rigorously reflect the client’s collection, but served inst

Saint Francis Preaching to the Birds
Oil on canvas. Ca. 1646
Carreño de Miranda, Juan
Saint Francis Preaching to the Birds
Oil on canvas. Ca. 1646
Carreño de Miranda, Juan

In 1724, Antonio Palomino, who had been Juan Carreño de Miranda’s disciple, included his teacher’s biography in his Parnaso español pintoresco y laureado. Their close relationship makes that text a highly informative source of first-hand information. Palomino wrote: Two other works by his hand (though early) are the paintings on the facing side walls of the church of El Caballero de

Margaret Theresa of Spain
Oil on canvas. 1665 - 1666
Martínez del Mazo, Juan Bautista
Margaret Theresa of Spain
Oil on canvas. 1665 - 1666
Martínez del Mazo, Juan Bautista

Margarita was born on 12 July 1651, the daughter of Philip IV and Mariana of Austria. On 12 December 1666, she married Emperor Leopold of Austria and died seven years later in Vienna. The fact that the princess is wearing mourning dress in this painting helps date it between September 1665 -when her father died- and her wedding in December 1666. Those dates suggest that the portrait was made in or

Kitchen Still Life
Oil on canvas. 1651
Anonymous
Kitchen Still Life
Oil on canvas. 1651
Anonymous

This attractive and singular mid-17th-century Spanish still life was originally thought to be by Antonio de Pereda, due to its similarity to two canvases at the Museo de Arte Antiga in Lisbon, which he signed and dated in 1651. However, notwithstanding its approximate resemblance to Pereda’s creations, a convincing attribution has yet to be encountered. Foodstuffs and utensils are scattered in com

Vase of Flowers
Oil on canvas. 1635
Fernández "el Labrador", Juan
Vase of Flowers
Oil on canvas. 1635
Fernández "el Labrador", Juan

This small and simple floral composition was attributed to Francisco de Zurbarán before it was reassigned to El Labrador. The artist has depicted the flowers (pinks, lilies and a rose) as strongly lit against a dark background. This is a fragment of what must have been a larger composition that was cut down in the past for unknown reasons.

Still Life with Fruit and Game
Oil on canvas. 1651
Anonymous
Still Life with Fruit and Game
Oil on canvas. 1651
Anonymous

Unlike its pendant (P7762), which reflects a more urban setting, the present painting conveys a more rustic atmosphere. A roughly woven basket with fruit—especially grapes, which drape over the front—is accompanied by a melon, one slice of which rests in front of the basket. A hare and various birds rest on, or hang over, a stone block, flanked by a bloody knife and a loaf of bread, all on an unmi

Margaret Theresa, Infanta of Spain
Oil on canvas. Ca. 1665
Martínez del Mazo, Juan Bautista
Margaret Theresa, Infanta of Spain
Oil on canvas. Ca. 1665
Martínez del Mazo, Juan Bautista

Margarita of Austria (1651-1673) was the daughter of Philip IV and Mariana of Austria. When Mazo painted her she was betrothed to the Emperor Leopold of Austria, whom she married in 1666. In this portrait Mazo`s treatment of the composition and colour reveal the influence of his father-in-law, Velázquez, to whom this work was formerly attributed. The fact that Velázquez was not respo

Landscape with the Cattle
Oil on panel. Early Segunda mitad del siglo XVII - XVIII century
Boudewijns, Adriaen Fransz
Landscape with the Cattle
Oil on panel. Early Segunda mitad del siglo XVII - XVIII century
Boudewijns, Adriaen Fransz

Las figuras de esta obra se atribuyen a Peeter Bout.

Kitchen Still Life
Oil on canvas. Ca. 1664
Cerezo, Mateo
Kitchen Still Life
Oil on canvas. Ca. 1664
Cerezo, Mateo

A profusion of cooking utensils and hearty meats -game birds fresh from the hunt and not yet dressed, a recently-killed lamb, a calf’s head, and other cuts- are laid out on a work surface, as if the painter had found them thus in a kitchen, awaiting the preparation of a meal. The apparent disorderly informality of the painting’s composition gives it an air of immediacy and lifelikeness, but is in

Landscape with Dido and Aeneas
Oil on canvas. Third quarter of the XVII century
Agüero, Benito Manuel de
Landscape with Dido and Aeneas
Oil on canvas. Third quarter of the XVII century
Agüero, Benito Manuel de

This is a superb example of the type of landscape that Agüero and Mazo painted for the Court: paintings already marked by their knowledge of the works of Claude Lorraine and, especially here, Salvatore Rosa. The event depicted is drawn directly from the Aeneid and narrates the moment in a hunting expedition when Juno provokes a storm that obliges Dido and Aeneas to take shelter in a cave (IV,

The Virgin and Child with Saints Elizabeth and John
Oil on canvas. Third quarter of the XVII century
Bocanegra, Pedro Atanasio
The Virgin and Child with Saints Elizabeth and John
Oil on canvas. Third quarter of the XVII century
Bocanegra, Pedro Atanasio

This holy conversation conceived with a closed scheme that reflects the Renaissance tradition, and human models based directly on those used by Alonso Cano, has a degree of immediacy and spontaneous familiarity derived from how the different figures relate to each other. Young Saint John draws near to kiss his infant cousin Jesus´ hand while John´s mother expresses their family relatio

Emperor Charles V with a Dog
Oil on canvas. 1533
Titian (Tiziano Vecellio)
Emperor Charles V with a Dog
Oil on canvas. 1533
Titian (Tiziano Vecellio)

The period between 1530 and 1533 was crucial for the formulation of the image of Charles V. The image that ultimately proved most influential was invented by Jacob Seisenegger who painted five full-length portraits of Charles V between 1530 and 1532, creating a totally innovative typology for the depiction of the Emperor but one that had numerous precedents in German art (Cranach, Strigel, Amberge

Andromeda
Oil on canvas. Third quarter of the XVII century
Escalante, Juan Antonio de Frías y
Andromeda
Oil on canvas. Third quarter of the XVII century
Escalante, Juan Antonio de Frías y

Chained to a boulder, Andromeda occupies the left side of the composition, while the right opens onto a seascape from which a monster emerges to threaten the mythological heroine. This episode is from Ovid’s Metamorphoses IV: "Jupiter Ammon had unjustly ordered the innocent Andromeda to pay the penalty for her mother Cassiopeia’s words. As soon as Perseus, great-grandson of Abas, saw her fastened

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