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Landscape with a Carthusian (Saint Bruno?)
Oil on canvas. 1636 - 1638
Swanevelt, Herman Van
Landscape with a Carthusian (Saint Bruno?)
Oil on canvas. 1636 - 1638
Swanevelt, Herman Van

The painting entered the Museum holdings as an original work by Jan Both. In 1959 Blunt identifies it as the landscape listed in the 1701 inventory of the Palace of the Buen Retiro and maintains the attribution to Both, as does Roethlisberger (1961). However, Waddingham (1960) ascribes it to Herman van Swanevelt, an attribution backed by Luna (1984) and officially adopted by the Museum in 1985. Th

Saint Rosalia
Oil on canvas. Ca. 1625
Dyck, Anthony Van
Saint Rosalia
Oil on canvas. Ca. 1625
Dyck, Anthony Van

This is one of a number of images of Saint Rosalia that Van Dyck painted in Sicily, where he lived from 1624 to 1625. It depicts the hermit saint in her cave on Mount Pellegrino near Palermo. Rosalia’s cult gained popularity during the outbreak of the plague that devastated the city in the 1620s.

Venus, Adonis and Cupid
Oil on canvas. Ca. 1590
Carracci, Annibale
Venus, Adonis and Cupid
Oil on canvas. Ca. 1590
Carracci, Annibale

Venus, the Roman goddess of Love and Beauty, is accidentally wounded by one of her son Cupid´s arrows, which triggers her passion for Adonis. This love story ends with the tragic death of the hero. The scene is based on book X of Ovid´s Metamorphoses, one of the most important sources of mythology for artists of that time. The composition and pictorial technique in this work are a fine

The Good Shepherd
Oil on canvas. Ca. 1660
Murillo, Bartolomé Esteban
The Good Shepherd
Oil on canvas. Ca. 1660
Murillo, Bartolomé Esteban

In a landscape with classical ruins that allude to the defeat of paganism, the Christ Child tends a lamb. Murillo based this image on a print by Stefano della Bella (1610-1664), while making use of his outstanding ability to depict children to create one of the most effective depictions of the parable of the Good Shepherd.

Still Life with Apples, Walnuts and Sugar Cane
Oil on canvas. 1645
Medina Valbuena, Pedro de
Still Life with Apples, Walnuts and Sugar Cane
Oil on canvas. 1645
Medina Valbuena, Pedro de

The flat gray stone surface with a hollow in the left foreground bears various sorts of produce, mostly fruit and nuts. This, in turn, draws attention to a deep dish filled with walnuts in the middle ground behind a quince, several chestnuts and four apples. Further back, various short lengths of sugarcane fade into the shadows. The elements are laid out in a traditional manner to insure the neces

The Foundation of Santa Maria Maggiore in Rome. The Patrician recounts his Dream to the Pope
Oil on canvas. 1664 - 1665
Murillo, Bartolomé Esteban
The Foundation of Santa Maria Maggiore in Rome. The Patrician recounts his Dream to the Pope
Oil on canvas. 1664 - 1665
Murillo, Bartolomé Esteban

This painting and its companion, The Patrician’s Dream (P994), are among Murillo’s most renowned works. The two arched works were intended to hang beneath a small dome in the recently remodeled Sevillian church of Santa María la Blanca in 1665, and they narrate the story of the founding of the Roman basilica of Santa Maria Maggiore as succinctly set out in the Roman Breviary’s information a

Fruits and flowers
Oil on canvas. 1664
Son, Joris Van
Fruits and flowers
Oil on canvas. 1664
Son, Joris Van

The Marquis of Caracena and his Cortège
Oil on canvas. 1664
Meulen, Adan Frans Van Der
The Marquis of Caracena and his Cortège
Oil on canvas. 1664
Meulen, Adan Frans Van Der

Traditionally thought to depict Louis XIV departing on a military campaign, this canvas in fact represents the cortège of a Spanish governor in Flanders. The principal figure in the carriage is probably Luis de Benavides y Carrillo, Marquis of Caracena (1608-1668). In other versions of his composition Van der Meulen made Louis XIV the protagonist.

Maria Anna of Neuburg, Queen of Spain, on Horseback
Oil on canvas. 1693 - 1694
Giordano, Luca
Maria Anna of Neuburg, Queen of Spain, on Horseback
Oil on canvas. 1693 - 1694
Giordano, Luca

Evoking the model of the great equestrian portraits painted for the Spanish Habsburgs by Titian, Rubens and Velázquez, Giordano offers his own idealised and triumphal depiction of Maria Anna of Neuburg. The Queen is shown in a landscape that recalls the Bay of Naples, both accompanied by allegorical figures. It is not clear if these canvases were the bases for large-scale portraits of the m

Self-portrait
Oil on canvas. 1810 - 1813
González Velázquez, Zacarías
Self-portrait
Oil on canvas. 1810 - 1813
González Velázquez, Zacarías

A member of a dynasty of artists that began with his grandfather, the sculptor Pablo González Velázquez (1664-1727), Zacarías González Velázquez initially trained with his father, the painter Antonio González Velázquez (1723-94). In 1777, he joined the Royal Academy of Fine Arts of San Fernando, an institution to which he remained tied for the rest

The Spinners, or the Fable of Arachne
Oil on canvas. 1655 - 1660
Velázquez, Diego Rodríguez de Silva y
The Spinners, or the Fable of Arachne
Oil on canvas. 1655 - 1660
Velázquez, Diego Rodríguez de Silva y

This painting is the result of two acts carried out in different periods. First, Velázquez painted the surface occupied by the figures and the tapestry in the background. Later, in the 18th century, a wide strip (with the arch and oculus) was added to the top, along with narrower ones on the left, right and bottom (these additions are not visible in the current presentation of this work). T

The Virgin with the Child
Oil on panel. XVI century
Sarto, Andrea del (Andrea D'agnolo) (Workshop Of)
The Virgin with the Child
Oil on panel. XVI century
Sarto, Andrea del (Andrea D'agnolo) (Workshop Of)

Pietro Maria Rossi, Count of San Secondo
Oil on panel. 1535 - 1538
Parmigianino. Girolamo Francesco Maria Mazzola
Pietro Maria Rossi, Count of San Secondo
Oil on panel. 1535 - 1538
Parmigianino. Girolamo Francesco Maria Mazzola

Educated as a young man in France and Florence, in 1527 Pier Maria Rossi (1504-1547), Seventh Count of San Secondo, was in the service of Clement VII but that same year entered the employment of Charles V. Vasari recounts that Parmigianino (to whom this work has been unanimously attributed following its restoration) escaped from Parma to San Secondo in around 1538 in order to avoid problems relati

Saint Louis, Bishop, in Glory
Oil on canvas. 1693
Arredondo, Isidoro
Saint Louis, Bishop, in Glory
Oil on canvas. 1693
Arredondo, Isidoro

As Lafuente Ferrari (1941) pointed out when publishing this work, it is a significant example of the passionately baroque tone of late 17th-century painting in Madrid. The same critic mentions the clear influence of the Triumph of Saint Augustine (P664), which Claudio Coello painted thirty years earlier in 1664. And it is indeed possible to draw a certain correlation between the postures of the tw

The Flight into Egypt
Oil on canvas. Second half of the XVII century
Maratta, Carlo
The Flight into Egypt
Oil on canvas. Second half of the XVII century
Maratta, Carlo

Réplica del cuadro de gran formato realizado por el artista para la Capilla Chigi, en la Catedral de Siena, pintado en 1664. El modelo de la Virgen aparece representado repetidamente en sus obras hacia 1670. Atribuida por primera vez a Maratti en la colección del príncipe Carlos (futuro Carlos IV), en el inventario de la Casita del Príncipe de El Escorial realizado en 1789. Considerado obra de esc

The Foundation of Santa Maria Maggiore in Rome. The Patrician's Dream
Oil on canvas. 1664 - 1665
Murillo, Bartolomé Esteban
The Foundation of Santa Maria Maggiore in Rome. The Patrician's Dream
Oil on canvas. 1664 - 1665
Murillo, Bartolomé Esteban

This painting and its companion, The Patrician Reveals his Dream to the Pope (P995), are among Murillo’s most renowned works. The two arched works were intended to hang beneath a small dome in the recently remodeled Sevillian church of Santa María la Blanca in 1665, and they narrate the story of the founding of the Roman basilica of Santa Maria Maggiore as succinctly set out in the Roman Br

The Judgement of a Soul
Oil on canvas. 1663 - 1664
Cerezo, Mateo
The Judgement of a Soul
Oil on canvas. 1663 - 1664
Cerezo, Mateo

The judgement of an individual soul is a subject rooted in popular religious theater. The oldest known depictions date from the 15th century and show an angel and a devil arguing over the possession of the soul in question as Christ and the Virgin look on. Here, however, the painter takes a different approach to what may be a concrete event. Five figures are arranged on two parallel but overlappin

Philip IV on Horseback
Oil on canvas. Ca. 1635
Velázquez, Diego Rodríguez de Silva y
Philip IV on Horseback
Oil on canvas. Ca. 1635
Velázquez, Diego Rodríguez de Silva y

Of the equestrian portraits painted for the Hall of Realms, this is the only one with a declaration of authorship. The lower left corner has been a customary place throughout the history of painting for the artist´s signature, and here it bears a sheet of paper. And yet, contrary to our expectations, it is blank. This is the painter´s way of telling the viewer that the originality of his style and

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