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Saint Mary of Egypt
Oil on canvas. 1641
Ribera, Jusepe de, lo Spagnoletto
Saint Mary of Egypt
Oil on canvas. 1641
Ribera, Jusepe de, lo Spagnoletto

The painting is among a group of eight full-length single-figure composition of saints by Ribera that in 1658 were in the Madrid collection of Don Jerónimo de la Torre, a member of the Royal Council and secretary of State of Flanders. The series included four pictures that are now in the Prado -this Saint Mary of Egipt, Saint John the Baptist in the Desert (P01108), Mary Magdalene (P01103)

Penitent Magdalen
Oil on canvas. 1641
Ribera, Jusepe de, lo Spagnoletto
Penitent Magdalen
Oil on canvas. 1641
Ribera, Jusepe de, lo Spagnoletto

Traditionally identified as the woman who was a sinner and wept on Christ’s feet and wiped away her tears with her hair (Luke 7:36-50), Mary Magdalene is shown here as the hermit saint she became upon giving up her life of moral decadence, after her encounter with the Savior. She kneels in prayer at the entrance to her cave and raises her eyes to heaven, eyes that are perhaps disproportionately la

Saint Bartholomew
Oil on canvas. 1641
Ribera, Jusepe de, lo Spagnoletto
Saint Bartholomew
Oil on canvas. 1641
Ribera, Jusepe de, lo Spagnoletto

The saint in this painting can be identified by the knife in his right hand - the tool with which he was skinned. The work is part of a set of four hermits, although it is unusual to see this saint represented in a penitent manner, in a landscape, devoting himself to meditation and contemplation. The painting is among a group of eight full-length single-figure composition of saints by Ribera that

Cardinal Juan Everardo Nithard
Oil on canvas. 1674
Arco, Alonso del
Cardinal Juan Everardo Nithard
Oil on canvas. 1674
Arco, Alonso del

Born to an Austrian Catholic family, Juan Everardo Nithard (Falkenstein, 1607-Rome, 1681)became a Jesuit. His solid grounding in theology led Emperor Ferdinand III to appoint him confessor to his children, Leopold and Mariana, and when the latter married Philip IV, he accompanied her to Madrid in the same role. Widowed, Mariana became reagent for her son, Charles, until he came of age, and during

Henry IV
Oil on canvas. Second half of the XVII century
Arco, Alonso del
Henry IV
Oil on canvas. Second half of the XVII century
Arco, Alonso del

This heroic full-length portrait presents the king under a red-and-gold curtain with a landscape in the background. He wears a crown and, under a blue tunic, armor. His right hand rests on the head of a lion whose paw rests, in turn, on the coat of arms of Castile and León, territories ruled by Henry IV. The arms are surrounded by pomegranate flowers with the slogan, AGRO DULCE, an insignia

Saint John the Baptist in the Desert
Oil on canvas. 1641
Ribera, Jusepe de, lo Spagnoletto
Saint John the Baptist in the Desert
Oil on canvas. 1641
Ribera, Jusepe de, lo Spagnoletto

The painting is among a group of eight full-length single-figure composition of saints by Ribera that in 1658 were in the Madrid collection of Don Jerónimo de la Torre, a member of the Royal Council and secretary of State of Flanders. The series included four pictures that are now in the Prado -this Saint John the Baptist in the Desert, Mary Magdalene (P01103), Saint Mary of Egipt (P01106)

Young woman asleep on a hammock
Oil on copperplate. 1780 - 1781
Paret y Alcázar, Luis
Young woman asleep on a hammock
Oil on copperplate. 1780 - 1781
Paret y Alcázar, Luis

This small painting is one of Paret’s most exquisite creations. It was located and published in 1988 by Luna, who rectified the erroneous attribution to the Austrian Rococo painter Johann Georg Platzer (1704–1761). A young woman is depicted in a modest interior with a tiled floor and wood-panelled walls adorned with paintings and a mirror. She stands out in front of drapery, sleeping placidly on a

Maria Anna of Neuburg, Queen of Spain, on Horseback
Oil on canvas. 1693 - 1694
Giordano, Luca
Maria Anna of Neuburg, Queen of Spain, on Horseback
Oil on canvas. 1693 - 1694
Giordano, Luca

Evoking the model of the great equestrian portraits painted for the Spanish Habsburgs by Titian, Rubens and Velázquez, Giordano offers his own idealised and triumphal depiction of Maria Anna of Neuburg. The Queen is shown in a landscape that recalls the Bay of Naples, both accompanied by allegorical figures. It is not clear if these canvases were the bases for large-scale portraits of the m

Charles II, King of Spain, on Horseback
Oil on canvas. Ca. 1693
Giordano, Luca
Charles II, King of Spain, on Horseback
Oil on canvas. Ca. 1693
Giordano, Luca

Luca Giordano (1634-1705) made an equestrian portrait of Charles II for the Hall of Mirrors at Madrid’s Alcázar palace to emphasize the dynastic continuum in which Charles II constituted the latest link in a chain that had begun with Titian’s portrait of Charles V: Charles V at Mühlberg. The loss of Titian’s work in the fire that ravaged the Alcázar in 1734 makes it impossible t

Diana and Callisto
Oil on canvas. Ca. 1650
Martínez del Mazo, Juan Bautista
Diana and Callisto
Oil on canvas. Ca. 1650
Martínez del Mazo, Juan Bautista

After studying the canvas, the pigments, and the technique of this work as well as Diana and Callisto (P00424), we can be sure that they are Spanish copies from the 17th century. This makes them extremely interesting as components of the Madrid style during Carreño and Rizi’s generation. The originals of these paintings, some of the masterpieces by Titian in his final years, belonged to the

Diana and Actaeon
Oil on canvas. XVII century
Martínez del Mazo, Juan Bautista
Diana and Actaeon
Oil on canvas. XVII century
Martínez del Mazo, Juan Bautista

After studying the canvas, the pigments, and the technique of this work as well as those of Diana and Callisto (P424), we can be sure that these paintings are 17th-century Spanish copies. This provides important insight into the Madrid style during Carreño and Rizi’s generation. The originals of these paintings were some of Titian’s masterpieces from his final years. They belonged to the ro

Louis XIV of France
Oil on canvas. 1701
Rigaud, Hyacinthe
Louis XIV of France
Oil on canvas. 1701
Rigaud, Hyacinthe

The absolute protagonist of this canvas is the Sun King, who governed France from 1643 to 1715. He was only five years old when he took the throne after the death of his father, Louis XIII, but the early years of his reign were under the regency of his mother, Queen Anne of Austria (1601-1666), who was the sister of Philip IV of Spain and of Cardinal Mazarino (1602-1661). The image is completely m

Frederick William I of Prussia
Oil on canvas. 1704 - 1713
Anonymous
Frederick William I of Prussia
Oil on canvas. 1704 - 1713
Anonymous

La identificación tradicional del personaje con Federico II se basaba en los textos de inventarios antiguos. La relectura de ellos como “retrato del Joben Federico, segundo Rey de Prusia” remite al segundo rey de Prusia, que fue Federico Guillermo I, padre del famoso Federico II, y no de éste como se había considerado. Este retrato del Museo del Prado es muy similar a otros de Federico Guillermo I

Octagonal coffer with engraving and cameos
Albumen on photographic paper. Ca. 1879
Delabarre, Pierre -Sculptor- (Circle Of); Anonymous; Laurent y Minier, Juan
Octagonal coffer with engraving and cameos
Albumen on photographic paper. Ca. 1879
Delabarre, Pierre -Sculptor- (Circle Of); Anonymous; Laurent y Minier, Juan

The Muse Clío
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio
The Muse Clío
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio

This drawing belongs to the Ajello Sketchbook, a group of fifty-nine unbound pencil drawings that were models for engraving to illustrate a descriptive calendar of sculptures that Philip V and his wife, Elizabeth of Farnesio, had gathered in the Royal Palace of La Granja de San Ildefonso.

Sacerdote de Isis
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio
Sacerdote de Isis
Pencil on paper. Mid-XVIIIcentury
Ajello, Eutichio

This drawing belongs to the Ajello Sketchbook, a group of fifty-nine unbound pencil drawings that were models for engraving to illustrate a descriptive calendar of sculptures that Philip V and his wife, Elizabeth of Farnesio, had gathered in the Royal Palace of La Granja de San Ildefonso.

Life study
Black chalk, White chalk on grey paper. 1704
Conchillos y Falcó, Juan
Life study
Black chalk, White chalk on grey paper. 1704
Conchillos y Falcó, Juan

Dibujo en el que se representa una figura masculina que con un manto sobre el hombro izquierdo, avanza hacia la derecha con la cabeza vuelta hacia el fondo. (Texto extractado de Pérez Sánchez, A. E., Catálogo de dibujos. I. Dibujos españoles de los siglos XV-XVI-XVII, Museo del Prado, 1972, p. 90).

The Virgin and Child with Saints
Pencil, Grey-brown wash on white paper. Ca. 1709
Maratta, Carlo
The Virgin and Child with Saints
Pencil, Grey-brown wash on white paper. Ca. 1709
Maratta, Carlo

Dibujo que es preparatorio para una de las últimas obras de Maratti, la Virgen con Santos del altar mayor de la iglesia de San Felipe Neri en Turín, fechada entre 1700 y 1709. Encargado por el príncipe de Carignano, Manuel Filiberto de Saboya, el lienzo no se terminó hasta 1709 y en el colaboraron algunos discípulos de Maratti, quien dio, sin embargo, los dibujos preparatorios. El dibujo del Prado

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