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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

Cardinal Juan Everardo Nithard
Oil on canvas. 1674
Arco, Alonso del
Cardinal Juan Everardo Nithard
Oil on canvas. 1674
Arco, Alonso del

Born to an Austrian Catholic family, Juan Everardo Nithard (Falkenstein, 1607-Rome, 1681)became a Jesuit. His solid grounding in theology led Emperor Ferdinand III to appoint him confessor to his children, Leopold and Mariana, and when the latter married Philip IV, he accompanied her to Madrid in the same role. Widowed, Mariana became reagent for her son, Charles, until he came of age, and during

Sight and Smell
Oil on canvas. Ca. 1620
Francken II, Frans; Balen, Hendrick Van; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
Sight and Smell
Oil on canvas. Ca. 1620
Francken II, Frans; Balen, Hendrick Van; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

This canvas and its companion, Taste, Hearing and Touch (P1404), represent the five senses embodied by female figures in palatial interiors. The sense of smell is conveyed by a woman holding flowers, while Sight contemplates herself in a mirror held by a cherub. They are located in a hall filled with paintings and sculptures, a sort of cabinet of paintings that could reflect an idealized represent

The Villa Martinelli and the Palace of the Duke of Aquale in Posillipo (Naples)
Oil on canvas. 1700 - 1733
Vanvitelli, Gaspare
The Villa Martinelli and the Palace of the Duke of Aquale in Posillipo (Naples)
Oil on canvas. 1700 - 1733
Vanvitelli, Gaspare

Gaspare Vanvitelli is unanimously considered the founder of the eighteenth-century urban veduta, which was based on close observation of views and drawing from life, including scenes of everyday events and contemporary society. Born in Holland, where he was known as Gaspar van Wittel, Vanvitelli was a disciple of still-life and landscape painter Matthias Withoos in Utrecht, one of the Dutch cities

Taste, Hearing and Touch
Oil on unlined canvas. Ca. 1620
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
Taste, Hearing and Touch
Oil on unlined canvas. Ca. 1620
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

The dinner guests occupying the center of the composition symbolize the senses. Music and the singing children are hearing, and the young woman petting a mink is touch. The young woman preparing to eat some oysters symbolizes taste, while the monkey pulling on a cupid´s hair also symbolizes touch. Of equal significance are the animals and paintings in the room. The Annunciation on the top of the c

The Duke of Pastrana
Oil on canvas. Ca. 1679
Carreño de Miranda, Juan
The Duke of Pastrana
Oil on canvas. Ca. 1679
Carreño de Miranda, Juan

Here we are presented with a young man, elegantly dressed in black, standing within a landscape beside a horse whose mane is richly adorned with blue ribbons and bows. The man wears his hair very long, as was popular during the reign of Charles II, and carries a sword at his side. Hanging on his chest is a pendant with the cross of the Order of Saint James, which also appears prominently on his ca

The Grotto at Posillipo (Naples)
Oil on canvas. First third of the XVIII century
Vanvitelli, Gaspare
The Grotto at Posillipo (Naples)
Oil on canvas. First third of the XVIII century
Vanvitelli, Gaspare

Gaspare Vanvitelli is unanimously considered the founder of the eighteenth-century urban veduta, which was based on close observation of views and drawing from life, including scenes of everyday events and contemporary society. Born in Holland, where he was known as Gaspar van Wittel, Vanvitelli was a disciple of still-life and landscape painter Matthias Withoos in Utrecht, one of the Dutch cities

Saint Anne teaching the Virgin to read
Oil on canvas. 1674
Carreño de Miranda, Juan
Saint Anne teaching the Virgin to read
Oil on canvas. 1674
Carreño de Miranda, Juan

The scene takes place on a set of richly carpeted steps. A dark curtain in the background opens on the right to show a Solomonic column and some sketchy architectural elements that suggest an indoor setting. The subject was quite common in Counterreformation iconography, and was painted by Rubens, Roelas and even Murillo, among others. It presents the moment when Saint Anne teaches the young Virgi

The Immaculate Conception
Oil on canvas. XVII century
Rizi, Francisco
The Immaculate Conception
Oil on canvas. XVII century
Rizi, Francisco

An extremely broad development certainly makes this one of the most ambitious and complex depictions of the Immaculate Conception ever painted in Madrid, as well as one of the finest by this painter. In an iconographic sense, it closely follows the traditional model for this subject, presenting the Virgin as the Woman of the Apocalypse (chap. XII, 1).Upright and walking on the lunar globe, crowned

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)

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

Saint George and the Dragon
Oil on canvas. 1606 - 1608
Rubens, Peter Paul
Saint George and the Dragon
Oil on canvas. 1606 - 1608
Rubens, Peter Paul

According to Jacopo de la Voragine´s Golden Legend, Saint George slew the dragon that was terrorizing the people of Silene, saving a princess in peril. In this painting, the Christian hero rides a lively white stallion and brandishes his sword against the monster, which attempts to free itself of the lance stuck in its jaws. Behind them, next to a lamb, the princess looks on. This work was made in

View of Venice from the Island of San Giorgio
Oil on canvas. 1697
Vanvitelli, Gaspare
View of Venice from the Island of San Giorgio
Oil on canvas. 1697
Vanvitelli, Gaspare

Born in Holland, van Wittel received his early training in Utrecht. He settled in Italy in 1674, where he became known as Vanvitelli and contributed decisively to the development of the veduta (view painting). This view of the Piazzetta di S. Marco and the Palazzo Ducale proved enormously influential.

Judith at the Banquet of Holofernes
Oil on canvas. 1634
Rembrandt (Rembrandt Harmensz. Van Rijn)
Judith at the Banquet of Holofernes
Oil on canvas. 1634
Rembrandt (Rembrandt Harmensz. Van Rijn)

In the past various authors have expressed their scepticism about the attribution of the painting to Rembrandt. However, the Rembrandt Research Project includes it in the Corpus of 1986 as an original work, and this is supported by the technical study conducted at the Museo del Prado that year. As for the signature, the unsteadiness of the stroke and, above all, the yellow colour make it dubious.

Louis I, Prince of Asturias
Oil on canvas. 1717
Houasse, Michel-Ange
Louis I, Prince of Asturias
Oil on canvas. 1717
Houasse, Michel-Ange

Michel-Ange Houasse, son of the painter René-Antoine Houasse (c.1645-1710), had enjoyed a long career during the reign of Louis XIV of France (r.1643-1715). From 1715 until his death, Michel-Ange worked in the court in Madrid during the reign of the first Bourbon monarch, Philip V (r.1700-24 and 1724-46), creating interesting landscape paintings, genre scenes, religious paintings and portra

The Saviour
Oil on panel. Late XV century
Bellini, Giovanni (Workshop Of)
The Saviour
Oil on panel. Late XV century
Bellini, Giovanni (Workshop Of)

A bust of Christ, dressed in purple and with the holy halo. He appears as the Savior of Humanity over a dark background. This is a replica of a work by the same name signed by Giovanni Bellini (“IOANNES BELLINUS”), which dates from around 1495 and is now at the Royal Academy of Fine Arts of San Fernando in Madrid. A preparatory drawing for it is at the British Museum in London. The composition mus

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

Wedding Banquet
Oil on canvas. 1623
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
Wedding Banquet
Oil on canvas. 1623
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

The artist chose the end of a wedding banquet in the country to offer a depiction of rural life during one its most collective moments. Some figures are shown inebriated, others are dancing, kissing and embracing or bringing gifts to the married couple located in the background before a red hanging.

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