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Still Life with a silver beaker and a clock
Oil on panel. 1633
Heda, Willem Claesz
Still Life with a silver beaker and a clock
Oil on panel. 1633
Heda, Willem Claesz

In addition to the Roemer goblet, other glasses common in this kind of monochrome still life presented here include the Berkemeyer, in this case tipped over and broken, and the delicate Façon-de-Venise wineglass, in fashion at the time and likewise made in the Netherlands. Also featured is an exquisitely decorated silver goblet. Alongside them is a knife with a sheath and an open clock that

The Descent from the Cross
Oil on canvas. Ca. 1754
Giaquinto, Corrado
The Descent from the Cross
Oil on canvas. Ca. 1754
Giaquinto, Corrado

A group of sorrowful figures is illuminated by the rays of divine light which pierce the darkness that fell with the death of Christ, shown lying in his mother’s lap and anointed by Mary Magdalene. The canvas belongs to a series on the Passion that decorated the private oratory of Ferdinand VI in the Buen Retiro palace until 1808 when it was dismantled, entering the Prado in 1818.

Bathsheba at her Bath
Oil on canvas. Ca. 1685
Giordano, Luca
Bathsheba at her Bath
Oil on canvas. Ca. 1685
Giordano, Luca

"David contempló desde la terraza de su palacio a la bella Betsabé que se encontraba desnuda bañándose. Preguntó por ella y le respondieron que se trataba de la mujer de Urías, el jeteo, lo cual no desanimó al rey, que mandó llamarla y durmió con ella, quedando Betsabé embarazada. David envió a Urías a la muerte, dejando así libre el camino para tomar por esposa a Betsabé" (Samuel II, 11: 2-27).La

Portrait of a Doctor
Oil on canvas. 1582 - 1585
el Greco (Domenikos Theotokopoulos)
Portrait of a Doctor
Oil on canvas. 1582 - 1585
el Greco (Domenikos Theotokopoulos)

The figure represented in this painting is identified as a doctor on account of the ring on the thumb of his left hand. This could be Luis Mercado, physician to Philip II, or Rodrigo de la Fuente, a personal friend of El Greco’s and a very influential figure in Toledo at that time. The work is cited in the 1686 inventory of the Alcázar Palace of Madrid, where it remained until the fire of 1

Ferdinand VII in Court Dress
Oil on canvas. 1814 - 1815
Goya y Lucientes, Francisco de
Ferdinand VII in Court Dress
Oil on canvas. 1814 - 1815
Goya y Lucientes, Francisco de

Born in 1784 in El Escorial, Fernando VII was Carlos IV eldest son by Maria Luisa. In 1815, after abolishing the Constitution, he reined as an absolute monarch. He appears wearing the symbols of his royal condition, with a purple, ermine-lined robe, and a scepter with the coat of arms of Castile and Leon in his right hand. The sash of the Order of Carlos III crosses his chest, and he also bears th

Maria Anna of Spain, Queen of Hungary
Oil on canvas. Ca. 1630
Velázquez, Diego Rodríguez de Silva y
Maria Anna of Spain, Queen of Hungary
Oil on canvas. Ca. 1630
Velázquez, Diego Rodríguez de Silva y

Philip IV´s sister, Maria, was born in El Escorial in 1606. As a result of her royal lineage, she was destined to become yet another pawn in the play of matrimonial alliances that the European courts found so useful. As a marriageable infanta, marrying her was first considered a means of improving diplomatic relations with England, but those efforts failed as a result of religious incompatabilites

Turkish Galley and Dutch Ship off the Coast
Oil on panel. Ca. 1663
Bellevois, Jacob Adriaensz
Turkish Galley and Dutch Ship off the Coast
Oil on panel. Ca. 1663
Bellevois, Jacob Adriaensz

This is one of Bellevois`s characteristic seascapes designed to capture the atmospheric effects of the North Sea. Accordingly, in the rendering of the various elements -figures, vessels and background buildings- the artist is more concerned with blending all the features into the atmosphere than with depicting detail. The composition is structured into three planes staggered spatially towards the

Mariano San Juan y Pinedo, Future Count Consort of La Cimera
Oil on canvas. Ca. 1813
Esteve, Agustín
Mariano San Juan y Pinedo, Future Count Consort of La Cimera
Oil on canvas. Ca. 1813
Esteve, Agustín

Born in 1803, the boy wears the cadet’s uniform of the naval college. The whiteness of the suit and the painstaking detail of the embroidery on the jacket and cap afford the portrait its characteristic clarity. The sitter’s serious mood and calm bearing indicate that he has left childhood behind and is prepared for his future responsibilities, as denoted by his hand gesture. The greyish background

Eternal Happiness (preparatory sketch)
Oil on canvas. Ca. 1813
Madrazo y Agudo, José de
Eternal Happiness (preparatory sketch)
Oil on canvas. Ca. 1813
Madrazo y Agudo, José de

This is a modellino for the canvas commissioned by Charles IV during his exile in Rome for the ceiling of a room in the Palazzo di Spagna. The artist and his royal client’s tastes are revealed in the use of quintessentially Raphaelesque models, evident in the face of the woman and the poses of the two small putti holding up the cartouches.

Infante Louis I, King of Etruria, Prince of Parma
Oil on canvas. 1800
Goya y Lucientes, Francisco de
Infante Louis I, King of Etruria, Prince of Parma
Oil on canvas. 1800
Goya y Lucientes, Francisco de

This is a preparatory sketch for The Family of Charles IV. Son of Ferdinand, Duke of Parma, and the Archduchess Maria Amalia of Lorraine, the sitter was born in Piacenza in 1773. In 1795 he married the Spanish Infanta María Luisa Josefina. Proclaimed first King of Etruria by Napoleon in 1801, he died in Florence in 1803. Goya brilliantly defines the texture and movement of the hair, paintin

Still Life with a silver tazza, a roemer and oysters
Oil on panel. 1632
Heda, Willem Claesz
Still Life with a silver tazza, a roemer and oysters
Oil on panel. 1632
Heda, Willem Claesz

The painting belongs to the type of still life designated by Vroom as monochrome banketjes, pieces first executed by Heda towards the end of the 1620s that became very popular in the Netherlands and abroad, as illustrated by the fact that there were two in the inventory of Rubens´s property. There are sufficient grounds to interpret these compositions as moralising, religious or allegorical works.

A Picador
Oil on unlined canvas. Ca. 1795
Goya y Lucientes, Francisco de
A Picador
Oil on unlined canvas. Ca. 1795
Goya y Lucientes, Francisco de

An equestrian portrait of a picador, wearing a short bullfighting suit and hat and carrying a long pike. The background is a landscape with a river. X-rays of this work show that this picador is painted over an equestrian portrait of Manuel Godoy, who wears the sash of the Order of Carlos III, which he received in 1791, and the three-cornered hat of Commander of the Lifeguards, a title he received

The Adoration of the Shepherds
Oil on unlined canvas. 1628
Cavedone, Giacomo
The Adoration of the Shepherds
Oil on unlined canvas. 1628
Cavedone, Giacomo

This work repeats the canvas painted in 1613 and 1614 for the Arrigoni Chapel at San Polo Maggiore in Bologna, although there are some differences in the foreground, the Heavens with Putti and the objects that make up the still life. Its contents mix Venetian memories with hints of Caravaggio and an evident debt to Guido Reni, who had recently returned from Rome. There is a preparatory drawing for

Cleopatra
Oil on canvas. Ca. 1640
Reni, Guido
Cleopatra
Oil on canvas. Ca. 1640
Reni, Guido

Cleopatra VII (r. 51-30 BCE) was the sovereign of Egypt and the last representative of its final royal family, the Ptolemaic dynasty. Feeling that all was lost after her armies and those of her Roman lover and consort, Mark Antony (83-30 BCE), were successively defeated and the latter was killed, she chose to end her own life to avoid being captured by their mutual enemy, Octavian, the future Empe

Maria Luisa of Parma
Oil on canvas. 1765 - 1769
Mengs, Anton Raphael
Maria Luisa of Parma
Oil on canvas. 1765 - 1769
Mengs, Anton Raphael

El cuadro muestra a la futura reina de España, hija de Felipe de Borbón (1720-1765) y de Luisa Isabel de Francia, duques de Parma. Nació en la capital del ducado el 9 de diciembre de 1751; contrajo matrimonio con su primo el príncipe de Asturias, más tarde Carlos IV, el 5 de septiembre de 1765; fueron reyes entre 1788 y 1808; falleció en el exilio, en Roma, el 2 de enero de 1819, unos días antes q

Infanta Maria Josefa
Oil on canvas. 1800
Goya y Lucientes, Francisco de
Infanta Maria Josefa
Oil on canvas. 1800
Goya y Lucientes, Francisco de

This is one of ten preparatory sketches for The Family of Charles IV. Goya executed them in Aranjuez shortly after he was made First Court Painter. All make use of a reddish-orange ground. Daughter of Charles III and Maria Amalia of Saxony, the sitter died unmarried in 1801 aged 57. Her coquettish hair ornament has a birdof- paradise feather, while the false beauty spot on her temple was an outmod

General José de Palafox on Horseback
Oil on canvas. 1814
Goya y Lucientes, Francisco de
General José de Palafox on Horseback
Oil on canvas. 1814
Goya y Lucientes, Francisco de

This portrait of José Rebolledo de Palafox y Melci (1775-1847), Field Marshal of Zaragoza, commemorates his defense of the city in 1808 when it was besieged by the French during the War of Independence. Palafox became a symbol of patriotic resistence to the invader when he refused to capitulate despite the terrible state in which his city and its defenders found themselves. Goya seems to ha

The Immaculate Conception
Oil on canvas. 1783 - 1784
Goya y Lucientes, Francisco de
The Immaculate Conception
Oil on canvas. 1783 - 1784
Goya y Lucientes, Francisco de

Goya breaks with Baroque tradition, interpreting this typified subject according to the new principles of Neoclassicism. The clothing no longer flies around the figure, but instead adapts to the body in a natural manner. This delightful and emotive work is a preparatory sketch for the canvas belonging to the main altarpiece of the church of the College of the Order of Calatrava in Salamanca. It wa

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