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Saint Joseph with the Christ Child Sleeping in his Arms
Oil on canvas. 1652
Camilo, Francisco
Saint Joseph with the Christ Child Sleeping in his Arms
Oil on canvas. 1652
Camilo, Francisco

Until now, this canvas was thought to come from San Felipe el Real in Madrid, as Cruzada Villaamil (1865, no. 544, p. 38) mistakenly registered it. He believed it was one of the canvases mentioned by Palomino at that Augustine convent: "in a chapel beside the door to the cloisters there is a painting by him of Saint Joachim leading Our Lady as a girl by the hand; and another painting coupled with

Christ Crucified
Oil on canvas. 1780
Goya y Lucientes, Francisco de
Christ Crucified
Oil on canvas. 1780
Goya y Lucientes, Francisco de

The figure of Christ is depicted following the tradition of seventeenth-century Spanish religious painting, although the classical concept of beauty disseminated in Spain by Mengs and Bayeu is also evident. In addition, Goya softened the more cruel and dramatic aspects of this subject, emphasising the beauty of the nude body. The canvas was presented by the artist at the Real Academia de Bellas Ar

The Immaculate Conception as a Child
Oil on canvas. 1656
Zurbarán, Francisco de
The Immaculate Conception as a Child
Oil on canvas. 1656
Zurbarán, Francisco de

The Virgin Mary is presented as a little girl with her hands crossed over her chest. Wearing blue and white, she ascends on a group of angels’ heads as the heavens open to welcome her. This differs from earlier versions of the same subject by Zurbarán in its lack of symbols of the litanies and in the presence of a group of singing angels that occupy the entire bottom of the painting and are

Saint Dominic of Guzmán
Oil on panel. 1612 - 1614
Maíno, Fray Juan Bautista
Saint Dominic of Guzmán
Oil on panel. 1612 - 1614
Maíno, Fray Juan Bautista

On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight months to make the paintings, which had to portray the scenes and episodes specified by the prior of the monastery. Despite the agreement reached in the contract, the paintings were not completed until De

The Siesta, or Pompeian Scene
Oil on canvas. 1868
Alma-Tadema, Sir Lawrence
The Siesta, or Pompeian Scene
Oil on canvas. 1868
Alma-Tadema, Sir Lawrence

A domestic scene set in classical antiquity. An old man and a youth recline on divans while an attractive young woman plays music on a double flute. Both the clothing and the setting suggest the Greek world, and the motives and clothing are rigorously faithful to archeological discoveries made in the mid nineteenth century. Despite being Dutch by birth, Sir Lawrence Alma cultivated an eclectic per

The Holy Family with a Musician Angel, Saints Catherine and Barbara
Oil on panel. 1510 - 1520
Master Of Frankfurt (Workshop Of)
The Holy Family with a Musician Angel, Saints Catherine and Barbara
Oil on panel. 1510 - 1520
Master Of Frankfurt (Workshop Of)

Con la adquisición en 2008 de la tabla Sagrada Familia con ángel músico (P08009), el Museo del Prado completa el tríptico del Maestro de Francfort, que perteneció al convento dominico de Santa Cruz de Segovia, del que ya poseía las dos tablas laterales (P01941 y P01942). Cuando Ponz visitó este convento en la década de 1770, sus tres tablas aún no se habían separado. En mayo de 1836, cuando Castel

Garland of Flowers with Saint Teresa of Jesus
Oil on canvas. Ca. 1676
Pérez, Bartolomé
Garland of Flowers with Saint Teresa of Jesus
Oil on canvas. Ca. 1676
Pérez, Bartolomé

Obra perteneciente a una serie de seis cuadros de la que sólo se conservan cinco (P1056, P1057, P5095, P5099 y P5250). Cruzada Villaamil (1865) registró los tres que incorporó a su catálogo (P1056, P5250 y P5099) entre los cuadros anónimos de la escuela valenciana, aunque con una atribución entre interrogantes a Bartolomé Pérez. En el catálogo de Madrazo del Museo del Prado de 1878, primero en el

Saint Francis Preaching to the Birds
Oil on canvas. Ca. 1646
Carreño de Miranda, Juan
Saint Francis Preaching to the Birds
Oil on canvas. Ca. 1646
Carreño de Miranda, Juan

In 1724, Antonio Palomino, who had been Juan Carreño de Miranda’s disciple, included his teacher’s biography in his Parnaso español pintoresco y laureado. Their close relationship makes that text a highly informative source of first-hand information. Palomino wrote: Two other works by his hand (though early) are the paintings on the facing side walls of the church of El Caballero de

The Holy Family with a Musician Angel, Saints Catherine and Barbara
Oil on panel. 1510 - 1520
Master Of Frankfurt (Workshop Of)
The Holy Family with a Musician Angel, Saints Catherine and Barbara
Oil on panel. 1510 - 1520
Master Of Frankfurt (Workshop Of)

This triptych makes use of a traditional compositional scheme and iconography, with the principal scene in the central panel. However, the volumetric treatment of the figures reflects new Italian influences. This innovatory approach is also evident in the architectural background to the Holy Family, in which the habitual Gothic tracery is replaced by elements characteristic of of the new Mannerist

The Painter Carlos Luis de Ribera
Oil on canvas. 1839
Madrazo y Kuntz, Federico de
The Painter Carlos Luis de Ribera
Oil on canvas. 1839
Madrazo y Kuntz, Federico de

Carlos Luis de Ribera y Fievé, eldest son of the neoclassical painter, Juan Antonio de Ribera, was also a painter and a friend of Federico de Madrazo, who made this portrait while both lived in Paris. It is the result of an agreement that each would paint the image of the other, and then send the works to the annual painting exhibition at the Academy of Fine Arts of San Fernando in Madrid.

Ignacio Gutiérrez Solana, Overseer of the Royal Stables
Oil on canvas. Ca. 1823
López Portaña, Vicente
Ignacio Gutiérrez Solana, Overseer of the Royal Stables
Oil on canvas. Ca. 1823
López Portaña, Vicente

The man in the portrait, wearing his palace uniform, holds in his left hand a bundle of “royal orders”. The painting follows the style of portraits of professionals that López worked on in his years at the service of Fernando VII, in which he stressed the sitter’s job through the tools of his trade.

Seaside View of Sorrento
Oil on canvas. 1745 - 1750
Vernet, Claude-Joseph
Seaside View of Sorrento
Oil on canvas. 1745 - 1750
Vernet, Claude-Joseph

Vernet was one of the great landscape painters of his day. Painted during his time in Italy, the artist makes use of the picturesque nature of the location to create a fantastical scene in which the figures are subsidiary to the monumental arch of rocks with its theatrical appearance.

The Holy Family with a Musician Angel, Saints Catherine and Barbara
Oil on panel. 1510 - 1520
Master Of Frankfurt (Workshop Of)
The Holy Family with a Musician Angel, Saints Catherine and Barbara
Oil on panel. 1510 - 1520
Master Of Frankfurt (Workshop Of)

This triptych makes use of a traditional compositional scheme and iconography, with the principal scene in the central panel. However, the volumetric treatment of the figures reflects new Italian influences. This innovatory approach is also evident in the architectural background to the Holy Family, in which the habitual Gothic tracery is replaced by elements characteristic of of the new Mannerist

Saint Catherine of Siena
Oil on panel. 1612 - 1614
Maíno, Fray Juan Bautista
Saint Catherine of Siena
Oil on panel. 1612 - 1614
Maíno, Fray Juan Bautista

On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight months to make the paintings, which had to portray the scenes and episodes specified by the prior of the monastery. Despite the agreement reached in the contract, the paintings were not completed until De

The Triumph of Saint Augustine
Oil on canvas. 1664
Coello, Claudio
The Triumph of Saint Augustine
Oil on canvas. 1664
Coello, Claudio

Raised on a cloud, Saint Augustine (354-430) triumphantly combats Hell and Paganism, symbolised by the dragon and classical sculpture below. The compositional dynamism is emphasised by the sinuous form of the saint’s body, its sense of movement and the group of angels clustered around him, including one on the right that directs its sword against the enemies of religion. The canvas was painted for

The Virgin of the Rosary
Oil on canvas. 1650 - 1655
Murillo, Bartolomé Esteban
The Virgin of the Rosary
Oil on canvas. 1650 - 1655
Murillo, Bartolomé Esteban

In 1836, the English critic John Ruskin lavished praise on Bartolomé Esteban Murillo’s technique and identified the uniqueness of his approach: It is true that his Virgins are never such goddess-mothers as those of Correggio or Raphael, but they are never vulgar: they are mortal, but into their mortal features is cast such a light of holy loveliness, such a beauty of sweet soul, such an unf

Garland of Flowers with Saint Camillus de Lellis
Oil on canvas. Second half of the XVII century
Pérez, Bartolomé
Garland of Flowers with Saint Camillus de Lellis
Oil on canvas. Second half of the XVII century
Pérez, Bartolomé

This work belongs to a series of six paintings, of which only five have survived (P1056, P1057, P5095, P5099 and P5250). Cruzada Villaamíl (1865) registered the three that he included in his catalog (P1056, P5250 and P5099) among the anonymous paintings from the Valencian school, although he hazarded an attribution to Bartolomé Pérez between question marks. Madrazo’s 1878 cata

Queen Isabella the Catholic dictating her Will (preparatory study)
Oil on paper attached to cardboard. 1863
Rosales Gallinas, Eduardo
Queen Isabella the Catholic dictating her Will (preparatory study)
Oil on paper attached to cardboard. 1863
Rosales Gallinas, Eduardo

This study is an initial idea for the composition of the final canvas which the artist devised through numerous preparatory studies and drawings, the majority in the Prado. Rosales tried out the colour, lighting and arrangement of the figures, most of them grouped on the right including the seated Ferdinand the Catholic.

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