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Bathsheba at her Bath
Oil on canvas. 1696 - 1698
Giordano, Luca
Bathsheba at her Bath
Oil on canvas. 1696 - 1698
Giordano, Luca

Giordano ofrece una versión amable del pasaje bíblico que narra el encuentro del rey David y Betsabé, dando relevancia a los elementos exóticos, anecdóticos o decorativos, donde solo la sensualidad de Betsabé remite a la escabrosa historia narrada en el Libro de Samuel (II, 11: 2-27). David, acecha en el segundo plano, pintado con trazos ligeros y rápidos, construidos directamente sobre la prepara

Ferdinand VI and Barbara of Braganza in the Gardens of Aranjuez
Oil on canvas. 1756
Battaglioli, Francesco
Ferdinand VI and Barbara of Braganza in the Gardens of Aranjuez
Oil on canvas. 1756
Battaglioli, Francesco

This view of Aranjuez Palace was painted in 1756, on the occasion of the celebration of the saint´s day of King Fernando VI (1713-1759). This work was one of a group of views of the Palace and of the celebrations that took place there. Originally, there were probably four, but only this one and View of Aranjuez Palace (P04180, also in the Prado Museum) remain. The moment depicted here is the passa

View of The Palace of Aranjuez
Oil on canvas. 1756
Battaglioli, Francesco
View of The Palace of Aranjuez
Oil on canvas. 1756
Battaglioli, Francesco

This view of Aranjuez Palace was painted in 1756, on the occasion of the celebration of the saint´s day of King Fernando VI (1713-1759). This work was one of a group of views of the Palace and of the celebrations that took place there. Originally, there were probably four, but only this one and Fernando VI and Bárbara de Braganza in the Gardens of Aranjuez (P04181, also in the Prado Museum)

The Virgin and Child
Oil on canvas. 1708 - 1710
Trevisani, Francesco
The Virgin and Child
Oil on canvas. 1708 - 1710
Trevisani, Francesco

Trevisani trained with his father, the architect Antonio Trevisani, and with Antonio Zanchi in Venice before moving to Rome where he studied with Carlo Maratti (1625-1713). This work, painted in his most tender style, reveals an interest in combining a delicate colour range with powerful contrasts of light that anticipates Trevisani’s subsequent move towards the Rococo, of which he was a significa

The Agony in the Garden
Oil on canvas. Ca. 1590
Carracci, Ludovico
The Agony in the Garden
Oil on canvas. Ca. 1590
Carracci, Ludovico

The Apostles sleep in the foreground, indifferent to the suffering of Christ who is attended by angels. One holds a chalice, prefiguring the Passion. The artist looked to Correggio (c. 1489-1534) in the treatment of the figures and folds of the drapery, which have details characteristic of a miniature. The canvas was in the Roman collection of the painter Carlo Maratta (1625-1713) and was acquired

Bacchic Scene
Oil on canvas. 1626 - 1628
Poussin, Nicolas
Bacchic Scene
Oil on canvas. 1626 - 1628
Poussin, Nicolas

In a lush, wooded landscape on the banks of a quiet river, a nude woman, sitting on a richly colored red cloak, gestures to two male figures posed beside her. Supporting a glazed jug in her lap, she points to the standing nude boy, who pours wine from a golden ewer into the mouth of a kneeling satyr. Wearing a grapevine belt and a crown, the satyr, a half-man, half-goat creature associated with un

Lady Mary Josephine Drummond, Countess of Castelblanco
Oil on canvas. Ca. 1716
Oudry, Jean Baptiste
Lady Mary Josephine Drummond, Countess of Castelblanco
Oil on canvas. Ca. 1716
Oudry, Jean Baptiste

The sitter was the daughter of John Drummond, Duke of Melfort, one of James II’s principal councillors in exile in San-Germain-en-Laye and his Secretary of State. Lady Mary was married there in 1710 to the Count of Castelblanco. She died in 1713. It is thought that this is a posthumous portrait, painted to form a pair with that of her husband.

Fête in a Park
Oil on canvas. 1712 - 1713
Watteau, Jean-Antoine
Fête in a Park
Oil on canvas. 1712 - 1713
Watteau, Jean-Antoine

With his characteristic lyricism, Watteau captures the charm of a relaxed moment in which a group of people are gallantly presented in a garden. The predominant feeling is one of evanescence, resulting in a peculiar lack of definition: an atmosphere that blurs the contours and very nearly blends the sculptures in the fountain and pedestal into natural surroundings lit from an undetermined source.

The Birth of Saint John the Baptist
Oil on canvas. 1628 - 1629
Sacchi, Andrea
The Birth of Saint John the Baptist
Oil on canvas. 1628 - 1629
Sacchi, Andrea

The Infant Baptist is attended by four women while Zacharias thanks the heavens for the birth of his son. In the middle ground is Saint Elizabeth. The intense colours allow the painting to be dated to the early years of the artist’s career. A pupil of Albani (1578-1660) and the teacher of Maratta (1625-1713), Sacchi played an important role in the development of the most classical type of Baroque

Departure of Charles of Bourbon for Spain, seen from the Harbour
Oil on canvas. 1759
Joli, Antonio
Departure of Charles of Bourbon for Spain, seen from the Harbour
Oil on canvas. 1759
Joli, Antonio

A depiction of the port of Naples on 6 October 1759, when Charles of Bourbon (1716-1788) left for Spain, where he would reign under the name of Carlos III. son of Felipe V (1683-1746) and Isabel de Farnesio (1692-1776), Carlos was king of Naples and Sicily until his brother, Fernando VI (1713-1759) died without issue, obliging Carlos to return to Spain. The scene shows the bay of Naples with the v

The Painter Francesco Albani
Oil on canvas. 1635
Sacchi, Andrea
The Painter Francesco Albani
Oil on canvas. 1635
Sacchi, Andrea

Between 1635 and 1636 Sacchi left Bologna in order to study the work of Correggio (c. 1489-1534) and the Venetian painters. Before leaving he painted a portrait of his teacher, Albani (1578-1660), aged fifty-six, and kept this image until his death. It was acquired by his pupil Carlo Maratti (1625-1713), from whose collection it passed to that of Philip V after Maratti’s death.

Triumphal Arch
Oil on canvas. Ca. 1609
Domenichino (Domenico Zampieri)
Triumphal Arch
Oil on canvas. Ca. 1609
Domenichino (Domenico Zampieri)

Domenico Zampieri, called Domenichino, a Bolognese, painted this arch in celebration of Saint John the Baptist in Rome, and through it acknowledged his friend and protector Giovanni Battista Agucchi, a great theorist of Roman classicism. The emblems and biblical passages on the architecture allude to virtues associated with the saint. The painting comes from the collection of the painter Carlo Mar

Diogenes searching for a Man
Oil on canvas. 1645 - 1655
Castiglione, Giovanni Benedetto
Diogenes searching for a Man
Oil on canvas. 1645 - 1655
Castiglione, Giovanni Benedetto

An inquiring and original artist, as well as an extraordinary draughtsman, Giovanni Benedetto Castiglione travelled throughout much of Italy (besides his native Genoa, he worked in Rome, Mantua, Venice, and possibly Parma, Florence, Bologna and Modena) absorbing and appropriating a great variety of tendencies and languages, from the vigorous naturalism of painters living in Genoa, such as Sinibald

Dead Cockerel
Oil on panel. 1659 - 1660
Metsu, Gabriël
Dead Cockerel
Oil on panel. 1659 - 1660
Metsu, Gabriël

Recent restoration has enabled a much better appreciation of this picture, since the thick layer of oxidised glaze that previously covered the surface made it impossible to judge the space and depth of the composition. As a result, the cockerel´s body is no longer outlined against the dark, plain background, but seen hanging from a string above a table inside some kind of architectural space -an a

The Holy Family with Saint John the Baptist
Oil on panel. 1675 - 1680
Giordano, Luca
The Holy Family with Saint John the Baptist
Oil on panel. 1675 - 1680
Giordano, Luca

During his lifetime, one of Luca Giordano’s most admired qualities was his ability to emulate the style of some of the great Renaissance masters. This Holy Family was painted as an exercise in imitating the pictorial language of Raphael Sanzio de Urbino (1483-1520). Giordano’s work borders on forgery in its inclusion on the right of the anagram RSU in the manner of a signature.

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

Ferdinand VI as a Boy
Oil on canvas. Ca. 1723
Ranc, Jean
Ferdinand VI as a Boy
Oil on canvas. Ca. 1723
Ranc, Jean

Son of Philip V and María Luisa Gabriela de Saboya, Ferdinand VI (reigned 1746-59) became Prince of Asturias in 1724 and married María Bárbara de Braganza, Infanta of Portugal. Here he is depicted in shoes with heels, wearing court dress comprising a cuirass, a salmon pink frock coat and a long waistcoat in yellow-gold, both richly embroidered. He has a white lace neck tie and

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

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