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Earthly Paradise
Oil on canvas. XVI century
Bassano (Workshop Of)
Earthly Paradise
Oil on canvas. XVI century
Bassano (Workshop Of)

This is a painting of rather mediocre quality for which the artists drew on several ricordi from the stock at the family bottega. To cite an example, the horse and pair of dogs on the right specifically repeat the ones that appear in a similar position in Adam Being Reprimanded (P21). This juxtaposition of standardised models explains the obvious problems of scale in the depiction of the animals,

Joseph and the Wife of Putiphar
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti
Joseph and the Wife of Putiphar
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti

Joseph is a handsome and virtuous slave falsely accused of rape by his master´s wife, whose advances he has rejected. He is imprisoned, but eventually raised to the highest office by Pharaoh (Exodus: 39). Joseph and the Wife of Putiphar and Susannah and the Elders (P386) can be understood as parables of righteousness threatened and preserved, but here -as was usual for artists of the Renaissance a

Landscape with Waterfall
Oil on canvas. 1650 - 1660
Dughet, Gaspard
Landscape with Waterfall
Oil on canvas. 1650 - 1660
Dughet, Gaspard

A landscape with waterfalls appears at one side of the composition. At the other, various buildings oppose their rational and geometrical mass to Nature’s freer expression. The canvas’s human presence consists of various tiny figures in different parts of the composition. The suggestion of the Tivoli cascades and their wild surroundings are the main argument of this painting, which is characterist

Departure from the Inn
Oil on panel. Ca. 1660
Wouwerman, Philips
Departure from the Inn
Oil on panel. Ca. 1660
Wouwerman, Philips

The picture belongs to a group of scenes set inside a stable which Wouwerman began painting in 1655. This cycle is an exception in the painter`s output, which was mainly focused on outdoor scenes. Most of these stable views are based on the same compositional scheme: two-thirds of the panel is occupied by the dark interior of the stable, which opens out on the left towards a landscape painted in m

Smokers and Drinkers
Oil on panel. 1652
Teniers The Younger, David
Smokers and Drinkers
Oil on panel. 1652
Teniers The Younger, David

Three figures enjoy tobacco in an expressive manner in the foreground while an onlooker leans through the window. Around a table in the background, another group of figures drinks or plays cards. This is an example of scenes inside taverns with smokers, drinkers and players, which Teniers made during the sixteen thirties. He began with figures by his teacher, Adriaen Brouwer (1605/1606-1638), whic

Hawking Party by a River
Oil on canvas. 1655 - 1658
Wouwerman, Philips -Painter- (And Workshop)
Hawking Party by a River
Oil on canvas. 1655 - 1658
Wouwerman, Philips -Painter- (And Workshop)

Here the main scene takes place in the foreground, where a group of distinguished huntsmen ride down a narrow path along a river bank crowded with popular figures including horse-riders, wayfarers, bathers and beggars. Schumacher (2006) considers it to have been produced in Wouwerman`s studio. Recent restoration, however, has revealed figures of such quality that they must indeed be attributed to

The Surrender of Breda
Oil on canvas. Ca. 1635
Velázquez, Diego Rodríguez de Silva y
The Surrender of Breda
Oil on canvas. Ca. 1635
Velázquez, Diego Rodríguez de Silva y

On June 5, 1625 the Dutch governor of Breda, Justinus van Nassau, surrendered the keys of that city to Ambrosio Spínola, the Genoese general commanding the Spanish tercios (a group of soldiers that included pikemen, swordsmen and musketeers) of Flanders. Breda`s extraordinary strategic importance made it one of the most disputed cities in the Spanish monarchy`s prolonged war against the Uni

Penitent Magdalen
Oil on canvas. 1645 - 1649
Guercino (Giovanni Francesco Barbieri)
Penitent Magdalen
Oil on canvas. 1645 - 1649
Guercino (Giovanni Francesco Barbieri)

María Magdalena es una de las santas más célebres del cristianismo, por haber conocido a Cristo y porque representó el paradigma de la mujer arrepentida. En su etapa de vida mundana suele caracterizarse con ricas vestiduras. Cuando se muestra como mujer arrepentida -como en esta pintura de Guercino- aparece semidesnuda y con largos cabellos, adorando el crucifijo. Otros dos de sus atributos más re

The Embarkation of Saint Paula
Oil on canvas. Ca. 1639
Claude (Lorrain, Byname Of Claude Gellée)
The Embarkation of Saint Paula
Oil on canvas. Ca. 1639
Claude (Lorrain, Byname Of Claude Gellée)

A noble Roman widow and mother of five children, Saint Paula decided to retreat to the desert and abandon her worldly ways in favour of a life of prayer and penitence. In 285 AD she abandoned Rome with her son, Eustace, and moved to Antioch, where she joined Saint Jerome to share a hermit’s life. Claude Lorrain’s painting depicts her departure, offering an imaginary recreation of the port of Ostia

A Sybil
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y
A Sybil
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y

The first known reference to this work dates from 1746, when an inventory of paintings at the La Granja Palace was drawn up. There, it is attributed to Velázquez and identified as a likeness of his wife, Juana, whose father was the painter, Francisco Pacheco. It also specifies that she is holding a board. The linking of anonymous portraits to the lives of their authors was frequent in the 1

Cardinal-Infante Ferdinand of Austria at the Battle of Nördlingen
Oil on canvas. 1634 - 1635
Rubens, Peter Paul
Cardinal-Infante Ferdinand of Austria at the Battle of Nördlingen
Oil on canvas. 1634 - 1635
Rubens, Peter Paul

The Cardinal-Infante is depicted in full body armor, with a black hat, a staff and a red sash. He is portrayed as a general of the Spanish Armies during the Battle of Nördlingen when, in 1634, they took on the Protestant army. Near him, the allegory of fury and the eagle and lightening bolts of Jupiter allude to his dashing force. A battle scene occupies the background. Rubens painted this wo

Roman Athletes
Oil on canvas. Ca. 1640
Falcone, Aniello
Roman Athletes
Oil on canvas. Ca. 1640
Falcone, Aniello

This work belongs to a group from the History of Rome series for the Buen Retiro Palace. Dedicated to depictions of Roman public pastimes, the group includes athletes, gladiators, chariots, animal fights, mock sea battles and so on. Following initial doubts, the Buen Retiro Palace was conceived as a place of leisure, where it would be possible to forget the worries associated with running the mona

Aerial View of the Siege of Breda
Oil on canvas. First half of the XVII century
Snayers, Peter
Aerial View of the Siege of Breda
Oil on canvas. First half of the XVII century
Snayers, Peter

The plaza occupies the center of the image, surrounded by the fortifications and the camp. Amprosio Spínola appears in a carriage alongside a group of riders and footmen in the right foreground. On the left, a cartouche details the different positions in Italian, with indicative letters and numerals. We have detailed knowledge of this crucial moment in the War of Flanders, thanks to Hermann

Cavalry Combat
Oil on canvas. 1650 - 1655
Wouwerman, Philips
Cavalry Combat
Oil on canvas. 1650 - 1655
Wouwerman, Philips

The main scene occupies the foreground, though it is no longer set in the plane closest to the viewer as in the previous period, but slightly further back. As a result, the figures are smaller in size. The horizon line is also lower, affording the sky greater prominence. Furthermore, although the composition is still partly enclosed in the background by a diagonal, it extends into the distance on

The Fountain of the Tritons in the Island Garden, Aranjuez
Oil on canvas. 1657
Velázquez, Diego Rodríguez de Silva y (Workshop Of)
The Fountain of the Tritons in the Island Garden, Aranjuez
Oil on canvas. 1657
Velázquez, Diego Rodríguez de Silva y (Workshop Of)

The Kitchen
Oil on panel. 1643
Teniers The Younger, David
The Kitchen
Oil on panel. 1643
Teniers The Younger, David

This is a singular example of David Teniers´ indoor scenes. The kitchen or tavern utensils so common in his other works are completed here with a magnificent show of diverse fruit and vegetables. This converts the right part of the composition into a still life. On the left, a character shells mussels, a traditional foodstuff in the Low Countries, while another group works beside the fireplace. Th

The penitent Saint Jerome
Oil on canvas. 1652
Ribera, Jusepe de, lo Spagnoletto
The penitent Saint Jerome
Oil on canvas. 1652
Ribera, Jusepe de, lo Spagnoletto

Emerging from a dark background, a half-length image of a man appears in the close foreground, his right shoulder and arm bare, his hair white and long, his features aged. He holds a wooden cross in his left hand and with his right he strikes his chest with a stone. The cross identifies him as a saint; his nakedness and dishevelled appearance indicate he is a hermit or a penitent; the stone with w

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

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