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A Spinner
Oil on canvas. 1700 - 1730
Cipper, Giacomo Francesco
A Spinner
Oil on canvas. 1700 - 1730
Cipper, Giacomo Francesco

The girl’s rags, which signal her poverty, contrast with the cheerfully elegant way she handles the thread. This novel representation of a woman performing a domestic task anticipates the delicacy with which this subject was treated by painters like Chardin, and which later changed in the early nineteenth century into a more realist form of depiction, as in Goya’s Allegory of Industry.

Christ casting the Money Changers out of the Temple
Oil on canvas. Ca. 1725
Panini, Giovanni Paolo
Christ casting the Money Changers out of the Temple
Oil on canvas. Ca. 1725
Panini, Giovanni Paolo

Panini depicts the New Testament episode of Christ expelling the traders and money-changers from the Temple. The canvas may be a preliminary sketch for a larger composition. It was acquired by Charles IV, together with Panini’s Christ among the Doctors (P277).

Ruins with a Woman preaching (a Sibyl?)
Oil on canvas. Ca. 1735
Panini, Giovanni Paolo
Ruins with a Woman preaching (a Sibyl?)
Oil on canvas. Ca. 1735
Panini, Giovanni Paolo

The principal focus of this canvas and its pair, Ruins with Saint Paul preaching, is the splendour of Roman ruins and the evocation of the classical tradition. Within a setting of archaeological remains, a woman who is possibly a Sibyl or prophetess addresses a varied group of figures.

Saint Agnes
Oil on copperplate. 1769
Cherubini Preciado, Caterina
Saint Agnes
Oil on copperplate. 1769
Cherubini Preciado, Caterina

Una inscripción en su reverso vincula este óleo sobre cobre de pequeñas dimensiones con la pintora Caterina Cherubini Preciado, esposa del también pintor Francisco Preciado de la Vega desde 1750 y junto a él residente en Roma durante la segunda mitad del siglo XVIII.Caterina fue hija, como recuerda Urrea, de Giuseppe Cherubini, nacido a su vez de Giovanni Valentino Cherubini, ambos establecidos en

Don Quixote at the Inn
Oil on canvas. Ca. 1720
Iriarte, Valero
Don Quixote at the Inn
Oil on canvas. Ca. 1720
Iriarte, Valero

This work belongs to a series inspired by passages from Don Quixote portrayed with the same satirical humour as in Cervantes´text. The famous knight, seated at a table, is served by innkeepers in a parody of what would have been a court ceremony. Similarities have been pointed out with paintings of this type executed by the Madrid-based French artist Michel-Ange Houasse (1680-1730).

Portrait of Charles III as Infante
Oil on canvas. Ca. 1725
Ranc, Jean
Portrait of Charles III as Infante
Oil on canvas. Ca. 1725
Ranc, Jean

This portrait of a young Charles III is typical of Ranc´s portraits of children. It shows the future monarch as an Infante, years before his departure for Parma and Naples to occupy thrones his mother had assiduously arranged for him. Four other examples of this portrait are found in the Prado, Palace of El Pardo, Royal Palace of Madrid and the Royal Palace of La Granja. They demonstrate the syste

The Young Charles III with a Helmet and Sword
Oil on canvas. Ca. 1725
Ranc, Jean
The Young Charles III with a Helmet and Sword
Oil on canvas. Ca. 1725
Ranc, Jean

The young sitter, here slightly older than in the portrait of him in his study also painted by Ranc (Museo del Prado), is shown with the symbols of military power: a helmet, a sword resting on a large column base, and a red mantle. The Golden Fleece and the French Order of the Saint-Esprit, represented by the dove of the Holy Spirit, announce his historic destiny.

The Bridegroom and the foolish Virgins
Oil on canvas. 1730 - 1769
Fontebasso, Francesco
The Bridegroom and the foolish Virgins
Oil on canvas. 1730 - 1769
Fontebasso, Francesco

With the luminous serenity typical of Venetian painting, Fontebasso depicts this parable from the Gospel of Saint Matthew (25: 1-13). The bridegroom, who resembles standard images of Christ, has already allowed the wise virgins to enter but closes the door on the foolish ones. Invited to the wedding, they forgot the oil for their lamps and were obliged to go out and buy some, thus arriving late. T

Christ among the Doctors
Oil on canvas. Ca. 1725
Panini, Giovanni Paolo
Christ among the Doctors
Oil on canvas. Ca. 1725
Panini, Giovanni Paolo

Esta escena bíblica, perteneciente al Nuevo Testamento, refleja una anécdota de la juventud de Cristo, cuando estuvo disputando por cuestiones religiosas con los doctores judíos de la ley Mosaica, en el interior del Templo de Jerusalén. Forma pareja con Jesús arroja a los mercaderes del Templo (P00278), y ambos fueron comprados por Carlos IV. Destacan los grandiosos ámbitos arquitectónicos, así co

Ruins with Saint Paul preaching
Oil on canvas. Ca. 1735
Panini, Giovanni Paolo
Ruins with Saint Paul preaching
Oil on canvas. Ca. 1735
Panini, Giovanni Paolo

This canvas forms a pair with that of Ruins with a Woman preaching. It depicts the Apostle Paul preaching, standing between the portico of a ruined temple and the temple of Vesta with the pyramid of Gaius Cestius visible in the background.

Luis de Góngora
Oil on canvas. After 1622
Anonymous
Luis de Góngora
Oil on canvas. After 1622
Anonymous

By 1599, Francisco Pacheco had already begun work on his Libro de descripción de verdaderos retratos de ilustres y memorables varones (Book of Descriptions of True Portraits of Illustrious and Memorable Gentlemen), a collection of drawings portraying Spaniards who stood out in the fields of politics, religion, the arts and letters, with a text accompanying each likeness. Pacheco enlisted th

Penitent Magdalen
Oil on canvas. Ca. 1725
Trevisani, Francesco
Penitent Magdalen
Oil on canvas. Ca. 1725
Trevisani, Francesco

Born in Slovenia, Trevisani studied painting in Venice and moved to Rome around 1678. This depiction of Mary Magdalene, a work that belonged to Philip IV, combines a Roman classicism with Trevisani’s loose, luminous Venetian technique. The sensuality of the figure, with her long blond hair and enamoured expression, is emphasised by the supernatural light that illuminates her face.

Saint Michael Archangel
Brush, Pencil strokes, Grey-brown wash on dark yellow paper. Ca. 1725
Gionima, Antonio
Saint Michael Archangel
Brush, Pencil strokes, Grey-brown wash on dark yellow paper. Ca. 1725
Gionima, Antonio

La figura en pie en el centro lleva en la mano una espada flameante, y en la izquierda, el escudo; en la parte baja, las figuras de los demonios, desnudos y contorsionados, ofrecen resistencia al arcángel.Es dibujo magistral que resume todo el ímpetu barroco de las composiciones del siglo XVII y avanza al mismo tiempo hacia las formas elegantes del XVIII. La luminosidad del apunte realizado sólo c

Hadrian as a hero
White marble. Ca. 136
Roman Sculptor
Hadrian as a hero
White marble. Ca. 136
Roman Sculptor

In 136 A.D., two years before his death, Emperor Hadrian had the previous realism of his portraits replaced with an idealized image of him as a young hero. Gold coins with this portrait, minted during his last years as emperor, indicate that he was probably represented as New Romulus. The bust was added in the sixteenth-century.

Painting and Music
Bronze. 1730 - 1740
Bertós, Francesco
Painting and Music
Bronze. 1730 - 1740
Bertós, Francesco

Owing to their ascending composition and their evidently decorative character, it is believed that these sculptural groups, the so-called Triumphs, were designed as table centrepieces. Like its pair (E00505), this group of ten figures represents allegories of the liberal arts through personifications of the concepts that define them, such as Imitation, Design, Study, Time and Harmony.

The Art of War
Bronze. 1730 - 1740
Bertós, Francesco
The Art of War
Bronze. 1730 - 1740
Bertós, Francesco

The prime achievement of the Venetian sculptor Bertós was his Triumphs, virtuoso groups of cabinet sculptures formed by stylised figures intertwined in lively and complex compositions. This magnificent example represents an allegory of the art of war through the figure of Hercules with his lion skin and club, the Roman soldiers with bows and spears, and the arms on the pedestal.

Sculpture, Arithmetics and Architecture
Bronze. 1730 - 1740
Bertós, Francesco
Sculpture, Arithmetics and Architecture
Bronze. 1730 - 1740
Bertós, Francesco

In this group, characteristic of the Venetian Bertós’s technical virtuosity, the allegories of the liberal arts are accompanied by personifications such as Perfection, Intellect, Truth and Valour. The last of these is carving a bust with armour and wig which has been identified as that of Marshal Johann Matthias von der Schulenberg, an important patron of the artist.

Male Portrait
Ca. 1730
Zincke, Christian Friedrich (Circle Of)
Male Portrait
Ca. 1730
Zincke, Christian Friedrich (Circle Of)

El autor de esta pintura puede ser alguno de los discípulos o seguidores de Zincke, entre los que se encuentran André o Jean Ronquet (1701-1758), Gervase Spencer (h. 1715-1763), Abraham Seaman o Seeman (doc. 1724-1753), su hermano Noah (doc. 1724-1741) y William Prewett o Prewitt (doc. 1730-1750).

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