Loading...
[+]
The Virgin’s facial type, the confident drawing and the forceful rendering of the spatial planes originally led this work to be attributed to Claudio Coello. But in 1986 more precise knowledge of the [+]
"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 de [+]
This work belongs to the so-called peasant interiors, one of the new genres of painting that emerged and developed in Flanders and Holland in the early seventeenth century. In Houbraken and in early i [+]
This surprising canvas presents the image of the Virgin of Atocha, just as she was worshipped on her altar at the Dominican convent dedicated to her on the outskirts of Madrid. This type of votive ima [+]
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 [+]
This work shows a taste for the monumental and straightforward. During those years, Spanish court painters of quite varied training underwent a process in which their compositions grew clearer, more s [+]
[+]
Murillo created a highly successful formula for representing the Immaculate Conception, with the Virgin dressed in blue and white, her hands crossed over her bosom and her gaze directed at the heavens [+]
Seated on a cloud, God the Father holds a brush in his right hand, using it to add the final touches to a depiction of the Immaculate Conception. The idea of God as a painter was widespread in Golden [+]
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 q [+]
The baton in the sitter’s right hand and the cannon indicate that he is an artillery general, while the insignia hanging from his neck denotes his membership of the Order of Calatrava. Stylistically t [+]
The scene shows the Christ the Redeemer procession organised in Antwerp in 1685 to commemorate the centenary of the assault on the city by Spanish troops under the command of Alessandro Farnese on 27 [+]
[+]
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. Inventor [+]
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 delive [+]
Turned to the left in a three-quarters view, the Virgin is depicted sitting on a throne of clouds resting on a crescent moon whose points face down. In her arms she holds the Christ child, who blesses [+]
The Flight into Egypt was a popular subject with Madrid painters of the second half of the seventeenth century who made use of the episode’s potential for expressing tenderness and intimacy in a natur [+]
