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Masinissa Mourning Over the Death of Sophonisba (?)
Oil on canvas. XVII century
Finoglia, Paolo Domenico
Masinissa Mourning Over the Death of Sophonisba (?)
Oil on canvas. XVII century
Finoglia, Paolo Domenico

Within the large series of paintings dedicated to the history of Rome, this work and Meleager’s Hunt (P2320) belong to a small group of scenes from mythology and the history of Antiquity. This is undoubtedly the most mysterious group in the series -so much so, that the subject matter of some of its paintings has yet to be identified today. Moreover, neither the significance of this group as a whol

The Concert
Oil on canvas. Ca. 1640
Falcone, Aniello
The Concert
Oil on canvas. Ca. 1640
Falcone, Aniello

Falcone painted the figures in this painting; the Neapolitan specialist Luca Forte probably painted the vase of flowers on the left. It looks like a portrait gallery of real people, one of whom -the bearded man on the right- appears in other paintings by Falcone. The painting comes from the collection of the Duke of Medina de las Torres, viceroy of Naples between 1637 and 1644.

Funeral Rites for a Roman Emperor
Oil on canvas. 1634 - 1635
Domenichino (Domenico Zampieri)
Funeral Rites for a Roman Emperor
Oil on canvas. 1634 - 1635
Domenichino (Domenico Zampieri)

This is the best-documented painting in the entire History of Rome cycle. It is also one of the works that raises the most questions about aspects as important as its authorship and its subject matter. Giambattista Passeri narrated how Domenichino was contracted by the Count of Monterrey, who became Spain’s Viceroy to Naples in 1634, and how Monterrey protected this painter when he was threatened

Pilate washing his Hands
Oil on copperplate. After 1655
Giordano, Luca
Pilate washing his Hands
Oil on copperplate. After 1655
Giordano, Luca

Esta pintura ha sido relacionada con Durero (1471-1528) y con Lucas de Leiden (1494-1533). Supone un sobresaliente ejercicio de estilo que manifiesta su atenta observación de originales alemanes del siglo XV, cuya técnica Giordano intentó imitar. En ella Giordano aplicó una pincelada minuciosa y precisa de trazos cortos que reproducen con rigurosa exactitud el aspecto de los objetos, la incidencia

The Mouth of the Bidasoa
Oil on canvas. 1872
Rico y Ortega, Martín
The Mouth of the Bidasoa
Oil on canvas. 1872
Rico y Ortega, Martín

A serene landscape with the Bidasoa River´s mouth at the Cantabrian Sea, as seen from the sands of Fuenterrabía. This landscape, along with sixteen other works, was presented by Rico at the Universal Exhibition of 1878 in Paris, where it was qualified as “spiritual, compositions that appear to have been made with drops of light on the end of the brush.” This work entered the Prado Museum as

View of the Gardens of the Villa Medici, Rome
Oil on canvas. Ca. 1630
Velázquez, Diego Rodríguez de Silva y
View of the Gardens of the Villa Medici, Rome
Oil on canvas. Ca. 1630
Velázquez, Diego Rodríguez de Silva y

A masterpiece in the history of Western landscape painting, in which Velázquez set out his idea of landscape without any narrative excuse to justify it, this Roman scene and its companion work (P01211) are two of his most singular works. Both combine architecture, plant life and sculpture with living figures and integrate them into a landscaped setting in a very natural way. Critics have re

Perspective of a Gymnasium
Oil on canvas. Ca. 1638
Gargiulo, Domenico, Called Micco Spadaro; Codazzi, Viviano
Perspective of a Gymnasium
Oil on canvas. Ca. 1638
Gargiulo, Domenico, Called Micco Spadaro; Codazzi, Viviano

This is one of four depictions of spectacles from ancient Rome that Domenico Gargiulo and Viviano Codazzi painted for the large History of Rome series at the Buen Retiro Palace. Of those four, in which Gargiulo painted the figures and Codazzi the architecture, two more have survived: Perspective of a Roman Amphitheater (P2632) and Perspective of a Gymnasium (P6210). The fourth, now lost, is listed

Gladiators at a Banquet
Oil on canvas. Ca. 1638
Lanfranco, Giovanni Di Stefano
Gladiators at a Banquet
Oil on canvas. Ca. 1638
Lanfranco, Giovanni Di Stefano

Giovanni Lanfranco painted at least six works that can be related to the commission to decorate the Buen Retiro Palace. The first five are at the Museo del Prado -Auspices in Rome (P236); The Allocution of a Roman Emperor, (P2943); Funeral Rites for a Roman Emperor (P234); Gladiators at a Banquet and Roman Naumachia (P235)- while the sixth, Triumph of a Roman Emperor with two Captive Kings, belong

Still Life with Jug, Bread and Basket with Tableware
Oil on canvas. 1760
Meléndez, Luis Egidio
Still Life with Jug, Bread and Basket with Tableware
Oil on canvas. 1760
Meléndez, Luis Egidio

In the foreground of this painting, a loaf of bread rests on a knife, its foreshortened handle jutting out past the edge of the wooden surface on which the various objects are arranged. Next to it sits a coarse, glazed earthenware jug, which could hold milk or some kind of preserved food. The style of the jug recalls pottery traditionally produced in Alcorcón and Camporreal (towns within the provi

The Triumph of Bacchus
Oil on canvas. After 1635
Finoglia, Paolo Domenico
The Triumph of Bacchus
Oil on canvas. After 1635
Finoglia, Paolo Domenico

Paolo Domenico Finoglia was deeply involved in the creation of paintings for the History of Rome cycle at the Buen Retiro Palace. His participation includes this superb Triumph of Bacchus, a Gladiators’ Fight (Patrimonio Nacional, Inv. 10022324) and a painting with a very obscure subject traditionally known as Masinissa Mourning Over the Death of Sophonisba (P2280). This final work was even attrib

The Three Graces
Oil on oak panel. 1630 - 1635
Rubens, Peter Paul
The Three Graces
Oil on oak panel. 1630 - 1635
Rubens, Peter Paul

The Graces were minor deities but in this splendid work Peter Paul Rubens devotes his best effort to them. The three goddesses embrace each other forming a circle. The positioning of their feet suggests movement; they seem to dance gently. The setting is as luscious as the nude bodies of the goddesses. A field illuminated by sunlight filtered through dense trees stretches to a distant blue. The sh

Roman Athletes
Oil on canvas. Ca. 1640
Falcone, Aniello
Roman Athletes
Oil on canvas. Ca. 1640
Falcone, Aniello

This work belongs to a group from the History of Rome series for the Buen Retiro Palace. Dedicated to depictions of Roman public pastimes, the group includes athletes, gladiators, chariots, animal fights, mock sea battles and so on. Following initial doubts, the Buen Retiro Palace was conceived as a place of leisure, where it would be possible to forget the worries associated with running the mona

Landscape with Psyche and Jupiter
Oil on canvas. Ca. 1610
Rubens, Peter Paul; Bril, Paul
Landscape with Psyche and Jupiter
Oil on canvas. Ca. 1610
Rubens, Peter Paul; Bril, Paul

On a number of occasions, Peter Paul Rubens partially overpainted finished pictures. He did this to paintings by his own hand, such as Nymphs and Satyrs (P1666), which he retouched and enlarged twenty years after he first painted it. He also made changes to drawings and paintings by other artists that he owned. This painting is an example of such reworking, albeit in a radical mode that changed th

Rest on the Flight into Egypt
Oil on panel. 1520 - 1530
Anonymous
Rest on the Flight into Egypt
Oil on panel. 1520 - 1530
Anonymous

Aún no se ha identificado a su autor; pero en algunos aspectos coincide con las obras salidas del taller de Joos van Cleve, que también colaboró con Patinir representando figuras para sus escenas de paisaje, igual que hizo Quintin Massys en Las tentaciones de San Antonio Abad (P1615). Por lo que se refiere al paisaje, las obras de van Cleve están mucho más trabajadas en superficie que las de Patin

Portrait of a Man
Oil on panel. 1521
Dürer, Albrecht
Portrait of a Man
Oil on panel. 1521
Dürer, Albrecht

This portrait is one of Dürer’s great creations. It offers a three-quarters view of an unidentified person who occupies most of the canvas. Dürer places him in front of a dark background that bears some touches of blue. The light enters from the left, bringing out the features of the face and hands and projecting the sitter’s shadow onto the background at the right, where the date and th

Lupercalia
Oil on canvas. Ca. 1635
Camassei, Andrea
Lupercalia
Oil on canvas. Ca. 1635
Camassei, Andrea

Lupercalia was a festival involving sacrifices to the two deities associated, respectively, with fecundity and childbirth: Pan and Lucina. As part of the celebrations, the men whipped their wives to make them more fecund. Two young musicians close to the scene of the sacrifice to the gods, as well as the statue on the altar itself, carry wind instruments characteristic of this type of festivity.Wi

Two Wrestlers
Oil on canvas. Ca. 1637
Fracanzano, Cesare
Two Wrestlers
Oil on canvas. Ca. 1637
Fracanzano, Cesare

This work belongs to a group from the History of Rome series for the Buen Retiro Palace. Dedicated to depictions of Roman public pastimes, the group includes athletes, gladiators, chariots, animal fights, mock sea battles and so on. Following initial doubts, the Buen Retiro Palace was conceived as a place of leisure, where it would be possible to forget the worries associated with running the mona

The Kiss of Judas
Oil on copperplate. After 1655
Giordano, Luca
The Kiss of Judas
Oil on copperplate. After 1655
Giordano, Luca

Esta pintura ha sido relacionada con Durero (1471-1528) y con Lucas de Leiden (1494-1533). Supone un sobresaliente ejercicio de estilo que manifiesta su atenta observación de originales alemanes del siglo XV, cuya técnica Giordano intentó imitar. En ella Giordano aplicó una pincelada minuciosa y precisa de trazos cortos que reproducen con rigurosa exactitud el aspecto de los objetos, la incidencia

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