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Apples, Figs and Plums
Oil on canvas. Second third of the XVII century
Espinosa, Juan de
Apples, Figs and Plums
Oil on canvas. Second third of the XVII century
Espinosa, Juan de

This work and its pendant (P7926) share innumerable characteristics, notwithstanding their clear differences. They reflect a painting style popular at the Spanish court during the first half of the 17th century: small still lifes for specific clients that enjoyed decorating the rooms in their mansions with images from nature presented in a straightforward, untheatrical mannee.These works generally

The Consecration of Saint Ambrose as Archbishop
Oil on canvas. Ca. 1673
Valdés Leal, Juan de
The Consecration of Saint Ambrose as Archbishop
Oil on canvas. Ca. 1673
Valdés Leal, Juan de

The episodes from the life of Saint Ambrose were commissioned from Juan de Valdés Leal (1622-1690) by Ambrosio Ignacio Spínola y Guzmán (1632-1684), Archbishop of Seville, for his private oratory. They are markedly specular in nature given that the saint and archbishop share the same name, ecclesiastical rank and connections with northern Italy. The series was conceived by Sp&

The Virgin and Child adored by Saint Louis, King of France
Oil on canvas. Ca. 1665
Coello, Claudio
The Virgin and Child adored by Saint Louis, King of France
Oil on canvas. Ca. 1665
Coello, Claudio

Surrounded by angels, the Holy Family, with Saint Elizabeth and the infant Saint John, receive Saint Louis, King of France. The background combines architecture and curtains. This work is organized like a large stage set, using the infant Saint John and an adjacent lamb to invite the viewer to participate. The dynamic and complex composition with its brilliant and expansive colors recalls models f

Joseph and His Brothers
Oil on canvas. 1655 - 1660
Castillo Saavedra, Antonio del
Joseph and His Brothers
Oil on canvas. 1655 - 1660
Castillo Saavedra, Antonio del

The painting belongs to a series of six paintings on the story of Jacob’s favorite son, Joseph, (P000951, P000952, P000953, P000954, P000955, P000956) by Antonio del Castillo (1616-1668), the leading figure within Baroque painting in Córdoba. Castillo was among the artists to introduce landscape painting into Andalusia, as evident in these scenes in which the natural setting acquires notabl

Moses striking the Water from the Rock
Oil on canvas. 1668
Escalante, Juan Antonio de Frías y
Moses striking the Water from the Rock
Oil on canvas. 1668
Escalante, Juan Antonio de Frías y

This is a part of a series of eighteen canvases of biblical themes related in some way to the Eucharist that Escalante painted between 1667 and 1668 for the sacristy of the Merced Calzada in Madrid. They are cited there with great praise by all classical writers. The series was completed by a canvas by Montero de Rojas, Passing the River Jordan with the Ark of the Covenant (P4697).Palomino, in quo

Turkish Galley and Dutch Ship off the Coast
Oil on panel. Ca. 1663
Bellevois, Jacob Adriaensz
Turkish Galley and Dutch Ship off the Coast
Oil on panel. Ca. 1663
Bellevois, Jacob Adriaensz

This is one of Bellevois`s characteristic seascapes designed to capture the atmospheric effects of the North Sea. Accordingly, in the rendering of the various elements -figures, vessels and background buildings- the artist is more concerned with blending all the features into the atmosphere than with depicting detail. The composition is structured into three planes staggered spatially towards the

Flowers in a Glass Vase
Oil on canvas. 1668
Arellano, Juan de
Flowers in a Glass Vase
Oil on canvas. 1668
Arellano, Juan de

This artist was a fundamental referent for Spanish still lifes in general and flower paintings in particular. He was that specialty’s consummate master and its leading light at the height of the Siglo de Oro, producing a plethora of works of unquestionable quality in a field already filled with them. He was also the most important artist with this surname, including close relatives and others. His

Saint Ambrose absolves the Emperor Theodosius
Oil on canvas. Ca. 1673
Valdés Leal, Juan de
Saint Ambrose absolves the Emperor Theodosius
Oil on canvas. Ca. 1673
Valdés Leal, Juan de

The episodes from the life of Saint Ambrose were commissioned from Juan de Valdés Leal (1622-1690) by Ambrosio Ignacio Spínola y Guzmán (1632-1684), Archbishop of Seville, for his private oratory. They are markedly specular in nature given that the saint and archbishop share the same name, ecclesiastical rank and connections with northern Italy. The series was conceived by Sp&

Ships in a Storm
Oil on panel. Second third of the XVII century
Wou, Claes Claesz
Ships in a Storm
Oil on panel. Second third of the XVII century
Wou, Claes Claesz

This painting was listed in the Museum`s inventories and catalogues as an anonymous work by the Dutch school, although in the 1889 catalogue it was noted that Bredius had suggested it should be attributed to Aert Anthonisz (1580-1620).On stylistic grounds the scene could be considered comparable with the output of Claes Claesz. Wou during the last stage in his career, by which time the rigid Manne

The Meeting of Abraham and Melchizedek
Oil on canvas. 1668
Escalante, Juan Antonio de Frías y
The Meeting of Abraham and Melchizedek
Oil on canvas. 1668
Escalante, Juan Antonio de Frías y

This is a part of a series of eighteen canvases of biblical themes related in some way to the Eucharist that Escalante painted between 1667 and 1668 for the sacristy of the Merced Calzada in Madrid. They are cited there with great praise by all classical writers. The series was completed by a canvas by Montero de Rojas, Passing the River Jordan with the Ark of the Covenant (P4697).Palomino, in quo

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.

The Annunciation
Oil on canvas. Ca. 1663
Rizi, Francisco
The Annunciation
Oil on canvas. Ca. 1663
Rizi, Francisco

The impetus of the dashing, powerful and monumental angel comes from Ribera. The conception of space and of the sky, with clouds that grow denser in the area just over the luminous horizon, seeks an effect of mass, and of notable solemnity and force. Behind the balustrade, a rose bush silhouetted by the light behind it stands out as a symbol of the Virgin Mary. The meticulously detailed carpet, wi

Joseph’s Triumph in Egypt
Oil on canvas. 1655 - 1660
Castillo Saavedra, Antonio del
Joseph’s Triumph in Egypt
Oil on canvas. 1655 - 1660
Castillo Saavedra, Antonio del

The painting belongs to a series of six paintings on the story of Jacob’s favorite son, Joseph, (P000951, P000952, P000953, P000954, P000955, P000956) by Antonio del Castillo (1616-1668), the leading figure within Baroque painting in Córdoba. Castillo was among the artists to introduce landscape painting into Andalusia, as evident in these scenes in which the natural setting acquires notabl

The Baptism of Queen candace´s Eunuch
Oil on canvas. 1639 - 1641
Both, Jan
The Baptism of Queen candace´s Eunuch
Oil on canvas. 1639 - 1641
Both, Jan

This painting entered the museum as a work by Claude Lorrain, but in 1843, it appeared in the catalog as an original by Jan Both, an attribution that has been maintained in posterior catalogs and is accepted without argument by specialists.Drawn from Acts (VIII: 26-38), the subject is the conversion and baptism of Queen Candace of Ethiopia by the Apostle Philip the Eunuch, who did so while returni

Vase of Flowers
Oil on canvas. 1650 - 1700
Arellano, Juan de
Vase of Flowers
Oil on canvas. 1650 - 1700
Arellano, Juan de

In each of these paintings (P596, P597), the central motif around which the entire composition is organised is a glass flower vase, the base of which rests on a stone surface. The flask-shaped vessel contains water. The specific varieties of flowers vary in the two works, but the similarities in the paintings´ dimensions and in the strategies adopted in the depiction of their subjects -toget

The Adoration of the Shepherds
Oil on canvas. 1668
Rizi, Francisco
The Adoration of the Shepherds
Oil on canvas. 1668
Rizi, Francisco

Rizi frequently depicted the subject of the Adoration of the Shepherds. In this version he emphasizes the contrast between the Holy Family and the shepherds who have come to worship the Christ Child. The lively, naturalistic depiction of the shepherds is offset by the serenity of the holy figures, depicted in a traditionally idealised manner.

Endymion Porter and Anthony van Dyck
Oil on canvas. Ca. 1633
Dyck, Anthony Van
Endymion Porter and Anthony van Dyck
Oil on canvas. Ca. 1633
Dyck, Anthony Van

A protector and friend of Van Dyck, Endymion Porter (1587-1649) was secretary to the Duke of Buckingham and an important diplomat in the English Court. A great lover of the arts, he was in charge of acquiring works for the collection of King Charles I, and was one of Van Dyck´s greatest supporters during the latter´s stay in London. The aristocrat is shown frontally, wearing white satin, while the

Joseph’s Chastity
Oil on canvas. 1655 - 1660
Castillo Saavedra, Antonio del
Joseph’s Chastity
Oil on canvas. 1655 - 1660
Castillo Saavedra, Antonio del

The painting belongs to a series of six paintings on the story of Jacob’s favorite son, Joseph, (P000951, P000952, P000953, P000954, P000955, P000956) by Antonio del Castillo (1616-1668), the leading figure within Baroque painting in Córdoba. Castillo was among the artists to introduce landscape painting into Andalusia, as evident in these scenes in which the natural setting acquires notabl

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