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Under a sky filled with leaden-gray storm clouds, Saint Andrew and Saint Francis of Assisi stand next to each other in conversation. The apostle appears on the viewer’s left, wearing a cobalt blue tunic and green robes whose purple silk lining has grey reflections. He faces the viewer and leans on his characteristic x-shaped cross, turning his head to his left, where Saint Francis stands. The latt
This painting entered the holdings of the Museo del Prado as an anonymous Flemish work, although the 1873 catalogue reports the attribution to the Le Nain brothers proposed by M. de Chennevières based on its purported similarity to The Procession (Paris, Musée du Louvre, inv. 6841), then held to be an original work by these artists. From 1942 onwards it is listed as executed by Frans
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
Francisco Bazán was a buffoon at the court of Charles II between 1676 and 1689. Carreño, who was reaching the end of his career when he painted this work, depicts the sitter as if delivering a note. The composition and way of inserting the figure into the pictorial space recall Velázquez’s portrait of Pablo de Valladolid.
The son of Felipe IV (1605-1665) and Mariana of Austria (1634-1696), Carlos II (1661-1700) was the last King of the Hapsburg Dynasty in Spain. He appears dressed in black, with the chain of the Golden Fleece around his neck. This order from Burgundy, to which he belonged, was first brought to Spain by Felipe el Hermoso (1578-1506). The young monarch (1661-1700) is depicted in the Hall of Mirrors,
This is a significant example of Claudio Coello’s style and one of his finest representations of the Immaculate Conception. It admirably associates grace and delicate modesty with the triumphal emphasis that characterizes depictions of this subject from Madrid in the second half of the century. Its rich, refined and predominately warm color scheme corresponds to Coello’s most powerful period, free
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
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
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
He is portrayed wearing the usual vestment of the Order: a hood, a long beard and leaning on a staff in the shape of a Greek tau. The figure of the saint, depicted in a pronounced diagonal, stops while traversing uneven terrain. He looks up and points to the sky on the left side of the scene. Behind him, a Minim friar carries one sick man on his shoulders while another one leans on the ground and
Until very recently there was total confusion as to the origin of this painting and the circumstances surrounding its entry into the Royal Collection. Its original owner was formerly thought to have been Cassiano dal Pozzo, an erudite Italian contemporary of Nicolas Poussin whose collection did, indeed, include a work with similar characteristics. Since 2005, however, the generally accepted hypoth
Juan de Arellano specialised in painting pictures of flowers, which brought him great artistic and financial success. Here, he depicts a wicker container with a bouquet of tulips, roses, campanulas and other species. The flowers have been pruned, and while some still retain their freshness, others have begun to wilt and have fallen on the stone pedestal. The artist merges elements of Flemish origi
Marianne of Austria (1634–1696) was the daughter of the Holy Roman Emperor Ferdinand III of Austria and his wife Maria. In 1649, at 15 years old, she was betrothed to her uncle Philip IV, the Great, who was 44 years old at the time. She had five children with him: Princess Margaret Theresa (1651–1673), later Empress of Germany; another girl who died a few days after her birth; Prince Philip Prospe
Piotr Ivanovich Potemkin (1617-1700) arrived at the Spanish court as ambassador for the Grand Duke of Moscow, Feodor II, in 1668 and returned in 1681-82. Carreño’s portrait is thought to be from the second visit, given its stylistic relation to the likeness of Eugenia Martínez Vallejo (P646). As such, it would have been painted in the last years of the artist’s life, when his style c
Es copia concluida y de muy buena calidad de un cuadro de Maratti, hoy perdido, en la Capilla Ludovisi de la Iglesia de San Isidoro Agrícola de Roma, pintado por el artista en 1656. De esta obra se conoce un grabado de J. Thiboust y en 1979 se encontró en el mercado londinense un lienzo del mismo tema, que posiblemente perteneció a la decoración de la citada iglesia romana (Texto extractado de Men
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