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Phillip of France, I Duke of Orléans
Oil on canvas. Last quarter of the XVII century
Mignard, Pierre (Circle Of)
Phillip of France, I Duke of Orléans
Oil on canvas. Last quarter of the XVII century
Mignard, Pierre (Circle Of)

Phillip of France, I Duke of Orléan, was the second son of Louis XIII of France and the Spanish Infanta Ana of Austria; born on September 21, 1640; died June 9, 1701, in Saint-Cloud. He was the father of Ma Luisa de Orleans, queen of Spain when she married Carlos II. This canvas is one of a group of portraits collected by María Luisa de Orleans (1662-1689), first wife of Carlos II of

Anne Marie Louise d'Orléans, Duchess of Montpensier
Oil on canvas. Before 1689
Anonymous
Anne Marie Louise d'Orléans, Duchess of Montpensier
Oil on canvas. Before 1689
Anonymous

This canvas is one of a group of portraits collected by María Luisa de Orleans (1662-1689), first wife of Carlos II of Spain, which would become part of the Royal Collection. Some of these paintings must have decorated the Queen´s Gallery in the Alcázar (Madrid), a representation space where the Queen launched a decorative and iconographic program of exaltation of her dynasty. Others

Country Wedding
Oil on canvas. Ca. 1612
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
Country Wedding
Oil on canvas. Ca. 1612
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

A wedding procession moves towards the church in a rural setting. The male members of both families lead the procession, headed by the groom. The flower in his hand is clearly a symbol of matrimony. The bride remains among the women. Both wear black clothing and a broad ruff collar, in keeping with early seventeenth-century style. The artist draws on the work of his father, Pieter Brueghel “the El

Hunting Party and Fishermen
Oil on canvas. 1660 - 1662
Wouwerman, Philips
Hunting Party and Fishermen
Oil on canvas. 1660 - 1662
Wouwerman, Philips

This is one of the elegant hunting scenes Wouwerman painted in the early 1660s that reveal his extraordinary talent as landscape artist. In these works, rather than depicting a hunting scene set in front of a landscape, as was typical of his A Stop at an Inn (P2152), he presents a vast panoramic view that occupies the entire surface and is adorned with figures of hunters and animals, diverse genre

Alida de Lange, Wife of Johan Rammelman
Oil on canvas. Ca. 1679
Netscher, Caspar
Alida de Lange, Wife of Johan Rammelman
Oil on canvas. Ca. 1679
Netscher, Caspar

These two paintings were first shown in Amsterdam in 1858. On that occasion the sitters were identified as Lambert Witsen and his wife Sara Nuyts owing to the woman`s purported similarity to the portrait of the latter (Amsterdam Historisch Museum, inv. SA 989) dated 1684 and included thus by Jan de Baen (1633-1702) in his work, Portrait of the Regents of the Spinhuis in Amsterdam.Moes (1897-1905)

Old Woman by a Fireplace
Oil on panel. 1660 - 1664
Brekelenkam, Quiringh Gerritsz. Van
Old Woman by a Fireplace
Oil on panel. 1660 - 1664
Brekelenkam, Quiringh Gerritsz. Van

This painting is ascribed to the school of Teniers in the royal collections, although after entering the Prado it is listed in the catalogue as an original work by that painter. This raises the question of when the signature D. Ten. on the lower right was added. The 1873 Prado publication describes this signature as apocryphal and assigns the painting to Hendryk Martensz. Rokes, called Sorgh or Zo

Vanitas
Oil on canvas. 1662
Negri, Pietro
Vanitas
Oil on canvas. 1662
Negri, Pietro

This work entered the Museo del Prado in 1916 titled Penitent Magdalene, along with almost ninety other Italian, French, Flemish and Spanish works from the fifteenth to eighteenth centuries, nearly all with religious subjects. They were part of the bequest of Pablo Bosch y Barrau, a financier who loved and studied art. In 1924 Hermann Voss attributed this painting to Antonio Zanchi (1631-1722), a

Johan Rammelman
Oil on canvas. Ca. 1679
Netscher, Caspar
Johan Rammelman
Oil on canvas. Ca. 1679
Netscher, Caspar

These two paintings (P7607 and P7608) were first shown in Amsterdam in 1858. On that occasion the sitters were identified as Lambert Witsen and his wife Sara Nuyts owing to the woman`s purported similarity to the portrait of the latter (Amsterdam Historisch Museum, inv. SA 989) dated 1684 and included thus by Jan de Baen (1633-1702) in his work, Portrait of the Regents of the Spinhuis in Amsterdam

The Wine of Saint Martin's Day
Glue-size on twill / twill weave canvas. 1566 - 1567
Bruegel The Elder, Pieter
The Wine of Saint Martin's Day
Glue-size on twill / twill weave canvas. 1566 - 1567
Bruegel The Elder, Pieter

Practically unknown until now, the present canvas has only been mentioned and reproduced in an article by Matías Díaz Padrón, former curator at the Prado, that was published in Archivo Español de Arte in 1980. The author, who had not seen the painting at first hand, attributed it to Pieter Brueghel the Younger.The canvas depicts the Saint Martin`s Day wine festival. The

Louis of France, the Grand Dauphin
Oil on canvas. 1700 - 1750
Anonymous
Louis of France, the Grand Dauphin
Oil on canvas. 1700 - 1750
Anonymous

The eldest son of Louis XIV and the Spanish Infanta María Teresa of Austria, Louis was born in 1661, receiving the title of Dauphin as heir to the French throne. Married to Maria Anna Victoria of Bavaria, their son, the future Philip V of Spain (born in 1683), inherited from his father the so-called Dauphin’s Treasure, now in the Museo del Prado. Louis died in 1711.This canvas is one of a g

Saint Barbara
Oil on panel. Ca. 1522
Parmigianino. Girolamo Francesco Maria Mazzola
Saint Barbara
Oil on panel. Ca. 1522
Parmigianino. Girolamo Francesco Maria Mazzola

A portrait of Saint Barbara in profile on a black background. In her hands, she holds a tower, which was her symbol. A third-century Christian martyr, Saint Barbara was shut up in a tower and later decapitated by her father, Dioscoro, as punishment for neither marrying nor professing paganism. She is generally depicted with a sword and the palm leaf of martyrdom, as well as her tower. Here, howeve

Phillip II, Duke of Orléans, Reagent of France
Oil on canvas. Last quarter of the XVII century
Largillierre, Nicolas de
Phillip II, Duke of Orléans, Reagent of France
Oil on canvas. Last quarter of the XVII century
Largillierre, Nicolas de

Depicted when he was about seven years old, with Roman half-armor and a red robe, Philip II of Orléans (Saint Cloud, August 2, 1674 - Versailles, December 2, 1723) rests his left hand on a scepter bearing a fleur-de-lis. Born to Philip I of Orleáns (P2345, P2369, P2380) and Élisabeth Charlotte of the Palatinate, Duchess of Baveria (P2351), he was the grandson of Louis XIII and

Élisabeth Charlotte d'Orléans, ''Mademoiselle de Chartres''
Oil on canvas. 1680 - 1682
Largillierre, Nicolas de
Élisabeth Charlotte d'Orléans, ''Mademoiselle de Chartres''
Oil on canvas. 1680 - 1682
Largillierre, Nicolas de

Élisabeth Charlotte de Orléans (Saint Cloud, 09/13/1676 - Commercy, 12/23/1744), known as "Madame de Chartres" (since her brother, the future regent, before inheriting the title of Duke of Orléans took that of "Duke of Chartres" and she by extension, having no title, received that of "Mademoiselle de Chartres"). She was the daughter of Philip I of Orléans (brother of Lo

Phillip of France, I Duke of Orléan
Oil on canvas. 1685 - 1689
Voet, Jacob-Ferdinand
Phillip of France, I Duke of Orléan
Oil on canvas. 1685 - 1689
Voet, Jacob-Ferdinand

Phillip of France, I Duke of Orléan, was the second son of Louis XIII of France and the Spanish Infanta Ana of Austria; born on September 21, 1640; died June 9, 1701, in Saint-Cloud. He was the father of Ma Luisa de Orleans, queen of Spain when she married Carlos II.This canvas is one of a group of portraits collected by María Luisa de Orleans (1662-1689), first wife of Carlos II of

Saint Benedict destroying Idols
Oil on canvas. Before 1662
Rizi, Juan Andrés
Saint Benedict destroying Idols
Oil on canvas. Before 1662
Rizi, Juan Andrés

Cuadro de la serie con escenas de la vida de san Benito que adornaban el claustro del monasterio de San Martín. Felipe de Castro (ca. 1750/1764) se limitó a señalar que "las pinturas del claustro son de mano de Fray Juan Ricci" y Ponz (V, 1776, 5.a división, párrafo 15) que "las [pinturas] de la Vida del mismo Santo en el claustro son de Fr. Juan Rizi, Religioso de la Orden; y de su misma mano son

Louis XIV, King of France
Oil on canvas. Ca. 1665
Mignard, Pierre (Circle Of)
Louis XIV, King of France
Oil on canvas. Ca. 1665
Mignard, Pierre (Circle Of)

This canvas is one of a group of portraits collected by María Luisa de Orleans (1662-1689), first wife of Carlos II of Spain, which would become part of the Royal Collection. Some of these paintings must have decorated the Queen´s Gallery in the Alcázar (Madrid), a representation space where the Queen launched a decorative and iconographic program of exaltation of her dynasty. Others

Elizabeth Charlotte of the Palatinate, Duchess of Orléans
Oil on canvas. 1675
Mignard, Pierre (Copy After)
Elizabeth Charlotte of the Palatinate, Duchess of Orléans
Oil on canvas. 1675
Mignard, Pierre (Copy After)

Elizabeth Charlotte, Duchess of Baveria, Madame Palatine, second wife of Philippe I, Duke of Orléans and and mother of Philippe II, Duke of Orléans. This canvas is one of a group of portraits collected by María Luisa de Orleans (1662-1689), first wife of Carlos II of Spain, which would become part of the Royal Collection. Some of these paintings must have decorated the Queen´s

Marie Louise d’Orléans, Queen of Spain
Oil on canvas. Ca. 1679
García Hidalgo, José
Marie Louise d’Orléans, Queen of Spain
Oil on canvas. Ca. 1679
García Hidalgo, José

Marie Louise of Bourbon (1662–1689)—or d’Orléans, as she was the daughter of the Duke d’Orléans—is represented as the Queen of Spain. Forced to abandon depictions adhering to the conventions of French portraiture in Pierre Mignard’s circle, she is here presented according to the traditional line of Spanish court portraiture. The symbols that reveal the personality given to the sitter

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