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The local Barber
Oil on canvas. XVII century
Miel, Jan
The local Barber
Oil on canvas. XVII century
Miel, Jan

Hunting Party and Fishermen
Oil on canvas. 1660 - 1662
Wouwerman, Philips
Hunting Party and Fishermen
Oil on canvas. 1660 - 1662
Wouwerman, Philips

This is one of the elegant hunting scenes Wouwerman painted in the early 1660s that reveal his extraordinary talent as landscape artist. In these works, rather than depicting a hunting scene set in front of a landscape, as was typical of his A Stop at an Inn (P2152), he presents a vast panoramic view that occupies the entire surface and is adorned with figures of hunters and animals, diverse genre

The Virgin Nursing the Child
Oil on panel. Ca. 1565
Morales, Luis de
The Virgin Nursing the Child
Oil on panel. Ca. 1565
Morales, Luis de

These works (P944 and P7948) embody a more decorous variation of the breastfeeding Madonna, a reference to the succour afforded by the Virgin to all believers. Morales designed a composition which avoids both the representation of Mary’s nude breast and explicit lactation. With both hands, Mary holds a Child who seeks maternal consolation, lifting the veil with one hand and touching the modestly c

Vase of Flowers
Oil on panel. First quarter of the XVII century
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
Vase of Flowers
Oil on panel. First quarter of the XVII century
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

The inclusion of insects in floral still lifes gave them a powerful sense of reality and lifelikeness. Here Brueghel also included a frog and an object that may be an egg or possibly a bezoar, a concretion found in the intestines of certain animals which was believed to have curative powers.

Life study of a standing man with a staff
Red chalk, White chalk on dark toned paper. 1759
Maella, Mariano Salvador
Life study of a standing man with a staff
Red chalk, White chalk on dark toned paper. 1759
Maella, Mariano Salvador

Como su fecha y su carácter indican, es obra juvenil y de estudio sin duda realizada en Roma y enviada desde allí para dejar constancia de sus progresos. Recuérdese que en mayo de 1758 la Academia: para que no se malogren los ventajosos principios que se reconocen a Maella accede a la petición del pintor de una limosna de cuatro reales diarios para que continué en Roma, a donde ha ido por sus prop

Saint Francis in Prayer
Pencil, Red chalk, Grey-brown ink on brown paper. XVII century
Anonymous
Saint Francis in Prayer
Pencil, Red chalk, Grey-brown ink on brown paper. XVII century
Anonymous

Dibujo en el que se representa, en un fondo con paisaje, a San Francisco arrodillado en primer término ante el Crucifijo. La obra enlaza con el círculo de los seguidores de Annibale Carracci (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VI. Dibujos italianos del siglo XVII, Museo del Prado, 1983, p.175).

The Virgin and Child with Saints
Pencil, Grey wash, Grey-brown ink on dark yellow paper. First half of the XVIII century
Anonymous
The Virgin and Child with Saints
Pencil, Grey wash, Grey-brown ink on dark yellow paper. First half of the XVIII century
Anonymous

La composición, terminada en medio punto. En la gloria la Virgen sentada con el Niño; más abajo, sobre nubes, un santo obispo con varios ángeles, y en tierra, San Roque, arrodillado de perfil hacia la izquierda, y san Sebastián atado a un árbol. Dibujo lombardo de la primera mitad del siglo XVIII (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VII. Dibujos italianos del siglo XVIII y d

The Triumph of David
Red chalk on dark yellow paper. Early XVIII century
Anonymous
The Triumph of David
Red chalk on dark yellow paper. Early XVIII century
Anonymous

A la izquierda, sentado sobre un trono elevado, entre columnas y cortinajes, Saúl, ante él David ayudado por un guerrero lleva en una pica la cabeza de Goliat, tras ellos mujeres israelitas celebran, bailando, la victoria. El dibujo es notable, tal vez lombardo de principios del siglo XVIII (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VII. Dibujos italianos del siglo XVIII y del sig

Sancho Panza Drinking with the Pilgrims and Ricote
Pencil, Grey-brown wash on yellow laid paper. 1797 - 1798
Camarón, José
Sancho Panza Drinking with the Pilgrims and Ricote
Pencil, Grey-brown wash on yellow laid paper. 1797 - 1798
Camarón, José

A group of seated figures can be seen in the shade of some trees. Sancho is drinking from a wineskin, and in the background on the right, Rocinante is drinking from a stream.This is a preparatory drawing for the engraving that illustrated Gabriel de Sancha’s edition of Don Quixote (1797–8). The two Quixotes from Sancha’s workshop are dignified successors to a publishing tradition of exceptional qu

Apollo with Zither
White marble. 175 - 200
Roman Sculptor
Apollo with Zither
White marble. 175 - 200
Roman Sculptor

This statue is a Roman copy of a late Hellenistic statue (c. 100 B. C.) which, in turn, was inspired by the main statue of the temple of Apollo Sosianus in Rome, made by the Athenian sculptor Timarchides (c. 150 B. C.). The god is represented as the guide of the muses and the source of divine inspiration, playing his favourite instrument with his (now lost) right hand.

Ariadne sleeping
White marble. 150 - 175
Roman Sculptor
Ariadne sleeping
White marble. 150 - 175
Roman Sculptor

En la pintura de Velázquez que representa una vista del jardín de la Villa Medici en Roma (P1211) se identifica en una logia la estatua de una figura yacente apenas esbozada por el artista. De la figura recostada, que en 1787 pasó a Florencia, al Palazzo Pitti, y posteriormente al Museo Arqueológico de aquella ciudad, ya entonces se conocían otras dos réplicas de tamaño mayor que el natural, en Ro

The Emperor Marcus Aurelius
Marble. Ca. 170
Anonymous
The Emperor Marcus Aurelius
Marble. Ca. 170
Anonymous

Esta cabeza, que a primera vista no parece antigua sino barroca, es el retrato de Marco Aurelio (121-180 d.C) en la última fase de su vida. Característicos del cuarto tipo de retrato de los rizos peinados radialmente desde la frente y las sienes; el Emperador aparece de esta forma en tres monumentales relieves de Estado, los que quizá procedan de un arco de triunfo que le fue dedicado en 176 d.C,

Diana (Artemis)
White marble. 175 - 200
Roman Sculptor
Diana (Artemis)
White marble. 175 - 200
Roman Sculptor

El torso representa a Ártemis o Diana, la diosa de la caza. El delicado chitón, rico en pliegues, está doblado y levantado por encima de las rodillas mediante un cinturón que pasa por debajo de su pecho y no aparece a la vista. En torno al chitón doblado y por debajo del pecho se ciñe un manto, cuyas terminaciones caen decorativamente sobre los muslos. La terminación derecha del manto está algo le

The Muse Polyhymnia
White marble. 150 - 175
Roman Sculptor
The Muse Polyhymnia
White marble. 150 - 175
Roman Sculptor

The upper part is a Roman copy of a late Hellenistic original (100-50 B. C.). It shows Polyhymnia, the muse of sacred poetry and dance, placing her cloak over her left shoulder. Another copy in the Vatican shows her wearing a crown of large flowers as her only attribute. The lower part (E00218) is an addition from the seventeenth century, perhaps made in Bernini’s workshop.

Blind Homer
White marble. Third quarter of the II century
Roman Sculptor
Blind Homer
White marble. Third quarter of the II century
Roman Sculptor

A Roman copy of a Hellenistic image of the poet sculpted between 150 and 125 B.C. The author of the Iliad and the Odyssey was venerated throughout Classical Antiquity. He was imagined with a variety of physiognomies by Greek artists. This portrait corresponds to the Hellenistic blind-type, which was much repeated because of its tragic expression.

Achilles
Marble. 150 - 175
Anonymous
Achilles
Marble. 150 - 175
Anonymous

Until fifty years ago, this head mounted on a large bust in the 17th century was considered a portrait of Alexander the Great. He looks emphatically upwards with his mouth open in an expression of pathos. His long curls brushed upwards from his forehead form an anastole and curl under the edge of his helmet. After Blanco expressed doubts about its interpretation as Achilles in 1957, a series of co

Satyr at Rest
White carrara marble. 150 - 175
Roman Sculptor
Satyr at Rest
White carrara marble. 150 - 175
Roman Sculptor

This is a Roman replica of a work by Praxiteles of between 340 and 330 B. C. It depicts a beautiful satyr whose features lack the grotesque elements characteristic of this semi-animal divinity. The body perfectly reflects the s-shaped “Praxitelean curve” that gives it a relaxed appearance and emphasises the idea of the gods as beautiful, young, idle creatures. The skilled restorations by Bernini o

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