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The saint holds a bunch of Madonna lilies in allusion to her purity and a garland of roses that recalls her name. Her attitude brings this depiction closer to the most characteristic models of Guido Reni. Born in Naples, Giordano painted in Spain between 1692 and 1702. He is notable for his mural paintings, such as those executed for the Casón del Buen Retiro.
The first known reference to this painting from the Spanish Royal Collection dates from 1700, when it was mentioned as being in the Alcázar, Madrid, along with another painting by Luca Giordano, Mater Dolorosa, now lost. It is in magnificent condition, and was restored in 2007.The powerful foreground shows Christ, rope around his neck, painfully carrying the cross. The general tone evokes t
This painting belongs to the Neapolitan group of scenes of ancient Roman life that were ordered in the early to mid 1630s by the Viceroy of Naples, the Count of Monterrey, to decorate the Buen Retiro Palace on the outskirts of Madrid.The painting underscores Lanfranco’s extraordinary powers of inventiveness and productivity during a period in which he was otherwise thoroughly preoccupied with a su
Representa a María Giovanna Battista de Saboya-Nemours, duquesa de Saboya (1644-1724), hija primogénita de Carlos Amadeo de Saboya-Nemours y de Isabela de Borbón. Era bisnieta de Enrique IV de Francia, porque su abuelo materno, César de Borbón, duque de Vendôme, era hijo legítimo del rey francés y de su amante Gabrielle d´Estrées.En su retrato la modelo luce un rico vestido y manto de armiño de te
Moses Striking Water from the Rock and The Bronze Serpent are related to frescos on the same subjects in the apse of the basilica of Santa Croce in Gerusalemme in Rome. Those decorations commissioned in 1743 by the procurer general of the Cistercians and abbot of Santa Croce, Raimondo Besozzi, were paid by Pope Benedict XIV. As was his custom, Giaquinto painted various versions of the compositions
Practically unknown until now, the present canvas has only been mentioned and reproduced in an article by Matías Díaz Padrón, former curator at the Prado, that was published in Archivo Español de Arte in 1980. The author, who had not seen the painting at first hand, attributed it to Pieter Brueghel the Younger.The canvas depicts the Saint Martin`s Day wine festival. The
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
La fe de san José fue probada con el embarazo de María. Como era hombre justo y no quería ponerla en evidencia, resolvió repudiarla en secreto. Así lo había planeado cuando un ángel se le apareció en sueños y le reveló que lo engendrado en ella era obra del Espíritu Santo, renunciando a llevar adelante su primera intención (Mateo 1: 19-24).En la pintura, san José ocupa el primer plano, recostado y
Luca Giordano decorated three spaces in the Casón, an outbuilding of the Buen Retiro Palace, Madrid. The first was the central hall, which still exists, where he painted the fresco Apotheosis of the Spanish Monarchy, as well as sixteen scenes of the Labours of Hercules, now sadly lost.Two galleries that flanked this hall were destroyed in the late nineteenth century. The eastern one led to
Ubaldo y Carlo lograron penetrar en el palacio encantado de Armida, donde se encontraba ella con Reinaldo, entregados a sus juegos amatorios. Reinaldo, apoyado sobre la joven, contempla su rostro reflejado en un espejo. Dos figuras asoman en el bosque para urgirle a que abandone su retiro amoroso y regresar al combate.
Hercules wades effortlessly across the powerful Euenos River while his wife, the beautiful Deianira, requires the aid of the centaur Nessus to do so. While ferrying her across, the centaur attempts to rape her. In her defense, Hercules mortally wounds Nessus with his arrows, but with his last breath, the centaur tricks Deianira, promising her that if her husband wears his shirt, he will never look
The vault of the former Hall of Ambassadors at the Buen Retiro Palace, constructed alongside the former Royal Quarters of San Jerónimo at the behest of the Count-Duke of Olivares as a royal residence for leisure and for the monarchs’ public and official receptions. In the eastern part of this complex, a small building was erected after the palace itself was completed (1632). It was designed
Born in 1702, Zenón de Somodevilla y Bengoechea obtained a marquisate in 1736 following the conquest of the Kingdom of the Two Sicilies for the Infante don Carlos. Quartermaster General of the Navy, in 1743 he became Secretary of State, the Treasury, and of the Army and Navy. As minister under Ferdinand VI he achieved unequalled power. In favour of friendly relations with France, the Marqui
These two paintings 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.Moes (1897-1905)
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
Fineo, tío de Andrómeda y su prometido, irrumpió en el banquete previo a la boda de esta con Perseo. Iniciada la lucha, Perseo utilizó la cabeza de Medusa para convertir en piedra a Fineo (Ovidio, Metamorfosis, libro V, 177-235).Es una de las pinturas verticales de gran formato de Giordano de menor calidad presentes en el Museo del Prado, razón por la cual habitualmente se esgrime, con toda razón,
María aparece recostada con su mano derecha apoyada suavemente en un sillar de piedra, delante del cual hay una cesta de frutas. Mientras, Jesus niño, completamente desnudo, porta en su mano el libro de las escrituras.Le señala a san Juan Bautista un pasaje probablemente referido a la vida de este último, razón que justifica la postura de su mano derecha, que apoya en su pecho. San Juan viste con
