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Still Life with Chocolate Service
Oil on canvas. 1770
Meléndez, Luis Egidio
Still Life with Chocolate Service
Oil on canvas. 1770
Meléndez, Luis Egidio

When describing the work of this prolific painter of still lifes, it is frequently said that Luis Meléndez included only commonplace objects in his canvases; this painting, in fact, offers the exception that proves the rule. Amid the various objects represented here are a porcelain cup and large saucer, or plate, which seem to be East Asian rather than Spanish. Indeed, they may be Cantonese

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

Saint Paul the Hermit
Oil on canvas. 1635 - 1640
Ribera, Jusepe de, lo Spagnoletto
Saint Paul the Hermit
Oil on canvas. 1635 - 1640
Ribera, Jusepe de, lo Spagnoletto

The thin naked torso, the cloth made from rushes, the skull and the book suggest that the figure in the painting is a hermit; the bread crust in the foreground tells us that it is Saint Paul, the first hermit, who was brought half a loaf of bread every day by a raven.

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

Still Life with Small Pears, Bread, Flask, Bowl and Dry Leaves
Oil on canvas. 1760
Meléndez, Luis Egidio
Still Life with Small Pears, Bread, Flask, Bowl and Dry Leaves
Oil on canvas. 1760
Meléndez, Luis Egidio

Sobre una tosca mesa de madera, descrita táctilmente con los pequeños detalles de la calidad del material, visibles en nudos y muescas, aparecen desordenadamente situadas unas cuantas “peritas de San Juan” y un pan en segundo término, junto al cual se eleva una alcarraza de loza muy blanca que bien pudiera ser andaluza. Se denomina popularmente “jarra de cuatro picos” y muestra una decoración de i

The Miracle of Saint Anthony
Oil on canvas. Ca. 1665
Giordano, Luca
The Miracle of Saint Anthony
Oil on canvas. Ca. 1665
Giordano, Luca

El santo portugués aparece representado de tres cuartos, de pie, junto a un oratorio o bufete cubierto por un paño, sobre el que reposa un libro y una vara de azucenas, mientras sostiene al Niño Jesús en sus brazos. Se trata de una obra en la que Giordano trata de imitar el estilo de Ribera.

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

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

The Virgin as a Shepherdess
Oil on canvas. Ca. 1732
Tobar, Alonso Miguel de (Attributed To)
The Virgin as a Shepherdess
Oil on canvas. Ca. 1732
Tobar, Alonso Miguel de (Attributed To)

This canvas depicts an uncommon manifestation of the Virgin Mary that became popular in eighteenth-century Andalusia. She is seated on a rock surrounded by her flock, holding a rose in her left hand and stroking one of the sheep, which has another rose in its mouth. Above her are angels among the clouds, while in the background the Archangel Michael descends with his sword to rescue a sheep from a

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 Immaculate Conception of El Escorial
Oil on canvas. 1660 - 1665
Murillo, Bartolomé Esteban
The Immaculate Conception of El Escorial
Oil on canvas. 1660 - 1665
Murillo, Bartolomé Esteban

In this personification of the Virgin Mary as the Immaculate Conception, the protagonist, although still very youthful, is not as childlike as those of Zurbarán and Velázquez and lacks the descriptive and symbolic elements commonly found in earlier, undoubtedly archaic versions. Allusions to the litanies are omitted and artist reduces the image to the bare essentials: the young and s

Cardinal-Infante Ferdinand of Austria, in Hunting Dress
Oil on canvas. 1632 - 1634
Velázquez, Diego Rodríguez de Silva y
Cardinal-Infante Ferdinand of Austria, in Hunting Dress
Oil on canvas. 1632 - 1634
Velázquez, Diego Rodríguez de Silva y

Born in El Escorial in 1609, don Fernando was the son of Philip III and Margarita de Austria, and thus Philip IV´s brother. As a result, he held very high posts. In 1619, he was appointed cardinal and between 1634 and his death in 1641, he was governor of Flanders, where he succeeded his aunt, the Archduchess Isabel Clara Eugenia. Generally dated around 1632-1634, in the years immediately followin

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

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

Landscape with Shepherds
Oil on panel. Early Segunda mitad del siglo XVII - XVIII century
Boudewijns, Adriaen Fransz
Landscape with Shepherds
Oil on panel. Early Segunda mitad del siglo XVII - XVIII century
Boudewijns, Adriaen Fransz

Paisaje con grupos de pastores y caminantes; a la derecha, un río o laguna con barcas y pescadores; fondo montañoso con vista de un pueblo fortificado. Las figuras de esta obra (así como las de las obras P1371 a P1379) se atribuyen a Peeter Bout.

River Landscape with Riders and a Tower
Oil on canvas. XVII century
Anonymous
River Landscape with Riders and a Tower
Oil on canvas. XVII century
Anonymous

On entering the Museum this painting was inventoried as a product of the Sevillian school, though the 1876 catalogue lists it as a work executed in the style of Jan Both. Valdivieso (1973) considers it to be an eighteenth-century Italian work, while Barghahn (1986) identifies it as one of the landscapes in the Palace of the Buen Retiro inventory, though in fact neither the measurements nor the des

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