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Se identifica al personaje como Alonso Martínez de Espinar (h.1594-1682), ayuda de cámara del príncipe Baltasar Carlos y del propio monarca, entre cuyos cometidos estaba el de acompañar a Felipe IV durante las cacerías y entregarle el arcabuz. en este mismo ministerio le ayudaba también Juan Céspedes.Hombre muy experto en caza escribió y publicó una obra titulada Arte de la ballestería y montería
The Virgin Mary is presented as a little girl with her hands crossed over her chest. Wearing blue and white, she ascends on a group of angels’ heads as the heavens open to welcome her. This differs from earlier versions of the same subject by Zurbarán in its lack of symbols of the litanies and in the presence of a group of singing angels that occupy the entire bottom of the painting and are
Saint Peter Nolasco, founded the order of Our Lady of Mercy, also known as the Mercederians, whose main objective was to rescue Christians held captive by the Muslims. The convent of la Merced Calzada for which this work was painted had been founded by Ferdinand III in 1249 -the year Pedro Nolasco died- but it was entirely reconstructed in the early 17th century. In August 1628, Zurbarán wa
The saint’s figure, with long blond tresses, occupies the center of the scene. Gazing at the heavens, she crosses her hands across her bosom in prayer. Her worn clothing is enveloped in large floating robes whose movement is decidedly diagonal, and the cloud on which she kneels is carried towards Heaven by Coello’s customary cherubs. Some hold the attributes that always accompany her when she is r
At the centre of this painting, the apostle Saint Andrew is being tied to the X-shaped cross on which he will die. His muscles are taut and he raises his eyes heavenward, where several angels carry the palm and crown of martyrdom. The cross is tall, allowing Murillo to place the saint in the middle ground, surrounded by a great variety of figures who play different roles and express a range of emo
The Virgin Mary stands on the Moon, surrounded by clouds in an image that varies from the predominant approach to representations of the Immaculate Conception in Seville. Most such works emphasize dynamism, seeking immediately legible formulas and triumphal contents, but here, Valdés Leal proposes a more meditative approach through a more complex presentation. Mary’s ascent to heaven is not
The frieze arrangement of the figures places this work in the painter`s classical phase, which began in 1594, the same year as the date on this painting. In Van Thiel`s view, it could be the picture which the Haarlem City Council acquired from the painter in 1594, and which was presented as a gift to Coenraet Dircksz. de Rechtere in around 1601-08, in gratitude for services rendered between 1574 a
Ramón Martí Alsina trained as an artist within the spirit of Romanticism. However, after several visits to Paris from 1855 onwards, he came into contact with French realist painting and thereafter became one of the channels for the renewal of landscape painting in Spain. Together with Carlos de Haes and Martín Rico, Martí Alsina was one of the painters who introduced re
Saint Paul fell from his horse as he heard Christ’s words “Why persecutest thou me?” which brought about his conversion. Murillo’s interpretation is notably dynamic, making use of the contrast between the area only occupied by the glow of light and the figure of Christ, and the crowded group of Saint Paul and his companions, set against a dark background.
This small panel -it is practically a miniature- is truly exceptional among El Greco’s works. In it, he employs landscape as an essential compositional element while simultaneously demonstrating his mastery of the techniques and expressive resources of 16th-century Venetian painting. The Holy Family is depicted on its journey to Egypt, fleeing the persecution of Herod, who decreed the execution of
An angel appears to Saint Joseph in his sleep, pointing to the dove of the Holy Ghost as the heavens open in a luminous burst of glory. Under the dove, a group of angels carry a mirror and flowers alluding to the fact that Mary remains a virgin despite her pregnancy. On a mat alongside the saint, we see an adze, a hand drill and other carpentry tools.Saint Joseph’s Dream was a relatively frequent
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
In this complex allegory, Mars, the god of war, is rejected by his lover Venus, who symbolises the peace painted by Rubens (1577-1640). On the ground at the lower edge we see objects destroyed by war: political power (the sceptre and orb); commerce or scientific knowledge (the astrolabe and armillary sphere); literature or peace treaties (a rolled-up manuscript) and diferent arts (the mask, the st
This is one of a series of four canvases mentioned by Ponz as having been sent to the Museo de la Trinidad (1800, I, fourth letter, paragraph 10): "The Convent of Saint Catherine, which is of the Shod Mercedarians, was enlarged by Archbishop Tenorio […]. There are four large paintings in the corners of the cloister, painted by Alonso del Arco." The inventories list only two (this one and The Behea
This painting has traditionally featured in literature as the work of Jacob Isaaksz. van Ruisdael (1628-1682); this attribution is based on the signature but is disputed by various authors. During the technical study and restoration work conducted for the purpose of the catalogue (2009), the signature was found to be without craquelure, having been applied over the layers of non-original coloured
The Immaculate Conception was one of Zurbarán’s most frequent subjects, as it was particularly popular with institutional and private clients in Seville, as well as very compatible with his skills as a narrator. Despite the story’s compositional limitations, he managed to achieve a notable variety that helped him avoid repeating himself. Here, for example, he offers a narrative and composit
This painting entered the Museum as an original by Jacob Isaaksz. van Ruisdael (1628-1682), an attribution that remained in the catalogue until 1972. Valdivieso (1973) believed it to be connected with Johan de Lagoor (1618/27-1660). However, the restoration carried out for this catalogue has revealed the signature of Cornelis Hendricksz. Vroom.Between two compact masses of holm oaks, a path leads
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
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