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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 d [+]
The works of Pedro Camprobín were the most important alternative in mid-seventeenth-century Seville to the still lifes of Francisco and Juan de Zurbarán, and this allowed him to dominate [+]
This portrait is one of Dürer’s great creations. It offers a three-quarters view of an unidentified person who occupies most of the canvas. Dürer places him in front of a dark background tha [+]
Dressed in grey, Christine of Sweden appears on a rearing horse, which symbolizes her status as queen and her power in seventeenth-century Europe. The presence of a falconer beside the dogs alludes to [+]
This pair of portraits (P01220 and P01222) combines several aspects of Spanish portraiture of the Baroque period. In principle, the figures of Philip IV and his second wife, Mariana of Austria, are a [+]
The sitter`s elaborate dress, the baton of command he holds in his right hand and the sword on which his left hand rest all indicate that he is a military figure. The military context in further sugge [+]
The Virgin Mary lies on her deathbed, surrounded by eleven Apostles. Through the window, the Borgo di San Giorgio and the Laguna of Mantua can be seen in the background. This scene depicts the Virgin [+]
Guido Reni`s painting shows a young Cupid facing the viewer, with the seashore behind him, his left leg bent and left foot resting on a slab of stone. Cupid raises his left hand to a dove and with his [+]
The Triumph of Saint Hermenegild (d. 585) and of the Catholic Church over Arianism. The saint rises up to heaven surrounded by angels carrying the symbols of his origin and martyrdom: the crown and sc [+]
This scene from the New Testament (John 13, 1-20) shows the moment just before the Last Supper, when Jesus washed Saint Peter´s feet as an example of humility and service to others. The displacement o [+]
Guido Reni`s painting shows a young Cupid facing the viewer, with the seashore behind him, his left leg bent and left foot resting on a slab of stone. Cupid raises his left hand to a dove and with his [+]
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 [+]
This painting was first included in the 1873 edition of the Museo del Prado catalogue, which states that it was rescued from the fire at the Alcázar Palace in Madrid in 1734. However, it is not [+]
In the same year that he published the Apocalipsis cum figuris, Dürer painted himself as a gentleman, dressed in light toned clothes and looking his best. He wears an open black and white doublet [+]
Standing in the foreground with a crozier at his feet, Saint Anthony looks to the heavens and orders the lions to leave the grave so that he can bury Saint Paul, who lies on a boulder above at the cen [+]
The Virgin Mary holds the Christ Child, flanked on the right by an angel and, on the left, by Saint Matthew. The landscape in the background shows a scene from the Apocrypha (Proto-Gospel of Saint Jam [+]
It has often been stated that this painting is part of a series of four, all now in the Prado, but that is probably not the case. The dimensions of all four paintings (P1619, P1620, P1621, P1622) are [+]
Christ and the Virgin Mary appear to Saint Francis at the church of la Porziuncola and the saint asks them for plenary indulgence for all pilgrims to that site. We know the artist´s name because it is [+]
