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Still Life with Animals
Oil on canvas. 1680 - 1690
Hondecoeter, Melchior D´
Still Life with Animals
Oil on canvas. 1680 - 1690
Hondecoeter, Melchior D´

The painting featured here is an example of the characteristic compositions with poultry in which D`Hondecoeter specialised. This type of painting was brought to Utrecht in 1619 by Roeland Savery (1576-1639), who had, in turn, been introduced to this genre -of which the most prominent and influential practitioner was Frans Snyders (1592-1667)- while at the court of Rudolf II of Prague.D`Hondecoete

Bathsheba at her Bath
Oil on canvas. Ca. 1685
Giordano, Luca
Bathsheba at her Bath
Oil on canvas. Ca. 1685
Giordano, Luca

"David contempló desde la terraza de su palacio a la bella Betsabé que se encontraba desnuda bañándose. Preguntó por ella y le respondieron que se trataba de la mujer de Urías, el jeteo, lo cual no desanimó al rey, que mandó llamarla y durmió con ella, quedando Betsabé embarazada. David envió a Urías a la muerte, dejando así libre el camino para tomar por esposa a Betsabé" (Samuel II, 11: 2-27).La

Self-Portrait
Oil on canvas. 1670 - 1680
Muñoz, Sebastián
Self-Portrait
Oil on canvas. 1670 - 1680
Muñoz, Sebastián

Considerado como pintado hacia 1688, de tratarse del autorretrato de este artista, nacido en 1650, demostraría contar en realidad unos veinticinco años aproximadamente, por lo cual convendría adelantar la fecha de su datación y estimar que se habría pintado antes de su estancia en Italia (1680-1684), comprobándose que ya se hallaba suficientemente capacitado como para pintar obras de cierta calida

Don Quixote at the Inn
Oil on canvas. Ca. 1720
Iriarte, Valero
Don Quixote at the Inn
Oil on canvas. Ca. 1720
Iriarte, Valero

This work belongs to a series inspired by passages from Don Quixote portrayed with the same satirical humour as in Cervantes´text. The famous knight, seated at a table, is served by innkeepers in a parody of what would have been a court ceremony. Similarities have been pointed out with paintings of this type executed by the Madrid-based French artist Michel-Ange Houasse (1680-1730).

The Vision of Saint Francis in the Portiuncula
Oil on canvas. 1670 - 1680
Murillo, Bartolomé Esteban
The Vision of Saint Francis in the Portiuncula
Oil on canvas. 1670 - 1680
Murillo, Bartolomé Esteban

As Saint Francis prayed in the chapel of the Portiuncula, Christ and the Virgin appeared to him. Murillo used the flowers, angels, clouds and light to create a link between everyday reality and the space in which the miracle took place.

The crucified Christ
Oil on canvas. Ca. 1675
Murillo, Bartolomé Esteban
The crucified Christ
Oil on canvas. Ca. 1675
Murillo, Bartolomé Esteban

The background of a dark, cloudy sky creates a dramatic setting for this presentation of Christ’s sacrifice on the cross. Murillo uses light to model the body, while the slight twist of the torso and legs increases the impression of three-dimensional form. This is one of the works that most clearly reveals the influence of Anthony van Dyck’s prints and paintings on Murillo.

Still Life with Fish and Turtle
Oil on canvas. Ca. 1680
Recco, Giuseppe
Still Life with Fish and Turtle
Oil on canvas. Ca. 1680
Recco, Giuseppe

Giuseppe Recco, a member of one of the most famous families of Neapolitan still-life painters in the seventeenth century, was born in Naples on 12 July 1634. His vast output was consistently high in quality and is characterised by a marked cultural eclecticism, taking in a number of different still-life styles, from Spanish to northern European to Roman, with an unusual iconographic versatility.In

Eugenia Martínez Vallejo, Naked
Oil on canvas. Ca. 1680
Carreño de Miranda, Juan
Eugenia Martínez Vallejo, Naked
Oil on canvas. Ca. 1680
Carreño de Miranda, Juan

After the death of Velázquez, Carreño showed himself to be the artist most worthy of continuing the depiction of monsters, jesters, and dwarves that inhabited the Spanish court. Inventories show that the Alcázar possessed a large number of portraits of this kind by Carreño, among which are the two of the Monster, as well as others that have unfortunately disappeared. Th

River Landscape with Fishing Boats and a Windmill on the Bank
Oil on panel. XVII century
Hulst, Frans Anthonisz. de
River Landscape with Fishing Boats and a Windmill on the Bank
Oil on panel. XVII century
Hulst, Frans Anthonisz. de

Until 1920, this painting appears in the Prado catalogues as an original by Cornelis Molenaer (1530/50-1589). However, in the 1889 edition it is noted that Bredius believes it to have been painted by Pieter Nolpe (1613-1653). This attribution was officially accepted by the Museum from 1933 until the 1985 catalogue, when it is ascribed to Jan Coelenbier (1610-1680), as proposed by Valdivieso and su

Massacre of the Innocents
Oil on canvas. Ca. 1663
Giordano, Luca
Massacre of the Innocents
Oil on canvas. Ca. 1663
Giordano, Luca

A. E. Pérez Sánchez publicó en 1970 su fotografía y su identificación en los inventarios antiguos de El Escorial (Madrid 1970a). En la actualidad, el formato de la obra aparece alterado en todos sus lados, principalmente por mutilaciones en la parte baja y el lado izquierdo; hasta su reciente restauración presentaba un aspecto muy desvirtuado. Hasta ese momento no se había apreciado la costura en

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

The Judgement of Solomon
Oil on canvas. 1694 - 1696
Giordano, Luca
The Judgement of Solomon
Oil on canvas. 1694 - 1696
Giordano, Luca

Dos madres se presentaron ante el rey Salomón con sendos niños, uno de ellos muerto. Ambas se disputaban al vivo, declarándose su madre legítima. El rey ordenó que dividieran en dos al niño vivo y dieran la mitad a cada una. La auténtica, conmovida, renunció a él. Salomón mostro su sabiduría otorgándole el niño, al considerarla la verdadera madre (Reyes I, 3: 16-28). La pintura representa el momen

Eugenia Martínez Vallejo, Clothed
Oil on canvas. Ca. 1680
Carreño de Miranda, Juan
Eugenia Martínez Vallejo, Clothed
Oil on canvas. Ca. 1680
Carreño de Miranda, Juan

In the courts of Spain´s nobility, the sixteenthcentury fascination with oddities of the natural world persisted into the seventeenth and was manifested in, among other things, an interest in people with some mental or physical anomaly. Such people were employed for the entertainment of the powerful and were also frequently represented in paintings. Inventories of aristocratic art collections occa

Charles II
Oil on canvas. Ca. 1680
Carreño de Miranda, Juan
Charles II
Oil on canvas. Ca. 1680
Carreño de Miranda, Juan

The most characteristic depiction of Felipe IV towards the end of his life is a half-length one, wearing dark clothes with the emblem of the Order of the Golden Fleece around his neck and standing out against a similarly dark background. More than twenty copies of this model devised by Velázquez are known. While portraits of Carlos II are generally full-length and include a more complex set

Portrait of a Lady
Oil on canvas. Second half of the XVII century
Anonymous
Portrait of a Lady
Oil on canvas. Second half of the XVII century
Anonymous

The execution of this portrait and the details of the figure’s clothing place this work within the orbit of portraits in the Italian regions of Emilia and Lombardy during 1650-1700. It is particularly close to the corpus of effigies that, up until a few years ago, were attributed to the Milanese painter Pier Francesco Cittadini (1616–1681). According to the most recent research on this artist, he

Rose Bush in flower
Oil on canvas. 1680 - 1700
Caffi, Margherita
Rose Bush in flower
Oil on canvas. 1680 - 1700
Caffi, Margherita

In contrast to the floral compositions habitual in Baroque painting and in Caffi’s own work, this canvas shows different plants growing directly from the ground with the evident aim of conveying spontaneity. The flowering rose bush and cluster of tulips also contribute to this close-up vision of the natural world, differing from other works by the artist, which depict invented species.

Saint Dominic of Guzmán
Oil on canvas. Ca. 1685
Coello, Claudio
Saint Dominic of Guzmán
Oil on canvas. Ca. 1685
Coello, Claudio

Spanish saint Dominic de Guzmán (1170-1221) founded the Dominican Order, which became one of the most powerful and influential religious groups in Catholic Europe, partially as a result of its defense of orthodoxy through the Inquisition, which was led by Dominican prelates. Claudio Coello made five paintings for their convent of El Rosario in Madrid, one of which is presented here. They we

Garland with a Landscape
Oil on canvas. 1680 - 1700
Ykens, Catharina II
Garland with a Landscape
Oil on canvas. 1680 - 1700
Ykens, Catharina II

Little is known regarding two artists called Catarina Ykens, both garland painters, and it is uncertain whether this painting is by Catarina Ykens I or Catarina Ykens II, to whom it is usually attributed. In either case, both were among the few women painters active in Early Modern Europe. Of the approximately 1,300 Flemish paintings in the Prado, only six were painted by women, four of them by Cl

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