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Isabel Clara Eugenia in the Site of Breda
Oil on canvas. Ca. 1628
Snayers, Peter
Isabel Clara Eugenia in the Site of Breda
Oil on canvas. Ca. 1628
Snayers, Peter

Representación del sitio de Breda, que tuvo lugar entre el 12 de septiembre de 1624 y el 2 de junio de 1625. En primer plano aparece la visita de la infanta gobernadora al campo de batalla tras la victoria, junto a otros personajes entre los que se encuentra Ambrosio de Spinola.El primer dato documental de esta obra lo da el inventario del Alcázar de 1636: ".... el sitio de Breda, con moldura dora

Mariana Victoria of Spain
Oil on canvas. 1724
Largillierre, Nicolas de
Mariana Victoria of Spain
Oil on canvas. 1724
Largillierre, Nicolas de

Daughter of Philip V and Isabella Farnese, the sitter was born in 1718. At the age of four her marriage to Louis XV was arranged, but this was broken off when she was seven for reasons of international politics. In 1729 María Ana married José, Prince of Brazil and future King of Portugal. Largillierre specialised in portraiture. He painted the present canvas in Paris, using a virtuos

Christ casting the Money Changers out of the Temple
Oil on canvas. Ca. 1725
Panini, Giovanni Paolo
Christ casting the Money Changers out of the Temple
Oil on canvas. Ca. 1725
Panini, Giovanni Paolo

Panini depicts the New Testament episode of Christ expelling the traders and money-changers from the Temple. The canvas may be a preliminary sketch for a larger composition. It was acquired by Charles IV, together with Panini’s Christ among the Doctors (P277).

The Haywain Triptych
Oil on panel. 1512 - 1515
Bosch, Hieronymus
The Haywain Triptych
Oil on panel. 1512 - 1515
Bosch, Hieronymus

Bosch thus shows how man, irrespective of his social class or place of origin, is so possessed by the desire to enjoy and acquire material possessions that he allows himself to be deceived or seduced by the Devil. Thus the artist proposes that we should renounce earthly goods and the delights of the senses in order to avoid eternal damnation. The painting offers an exemplum of a different type to

Church in Flanders or The Mass
Oil on panel. 1618
Neefs, Pieter I
Church in Flanders or The Mass
Oil on panel. 1618
Neefs, Pieter I

In the seventeenth century, the chapels, naves and aisles of Catholic churches were filled with altarpieces donated by guilds and wealthy individuals. This meticulous depiction of the nave draws on elements from Antwerp cathedral but it is not an exact representation. To enliven the scene a figure painter added elegantly dressed visitors attending mass and giving money to the poor.

Still Life with Dead Bird
Oil on panel. 1651
Espinosa, Juan de
Still Life with Dead Bird
Oil on panel. 1651
Espinosa, Juan de

The great charm of this still life has evidently long been apparent to lovers of painting, since it is first recorded in the collection of Gaspar de Haro, later VII Marqués del Carpio (1651), who was one of the most distinguished aristocratic picture collectors of his day. Its size is clearly a factor; the intimate scale is particularly alluring. Indeed, the appeal to collectors of small st

Christ among the Doctors
Oil on canvas. Ca. 1725
Panini, Giovanni Paolo
Christ among the Doctors
Oil on canvas. Ca. 1725
Panini, Giovanni Paolo

Esta escena bíblica, perteneciente al Nuevo Testamento, refleja una anécdota de la juventud de Cristo, cuando estuvo disputando por cuestiones religiosas con los doctores judíos de la ley Mosaica, en el interior del Templo de Jerusalén. Forma pareja con Jesús arroja a los mercaderes del Templo (P00278), y ambos fueron comprados por Carlos IV. Destacan los grandiosos ámbitos arquitectónicos, así co

The Siege of Aire-sur-la-Lys
Oil on canvas. 1653
Snayers, Peter
The Siege of Aire-sur-la-Lys
Oil on canvas. 1653
Snayers, Peter

As court painter to the Cardinal-Infante Ferdinand, Snayers’s compositions both document and glorify Spanish military activities. This painting represents the capture of Aire-sur-la-Lys from the French troops by the Cardinal-Infante’s army in 1641. The topographical landscape in the background and the genre episodes in the foreground are influenced by Jacques Callot’s etching The Siege of Breda.

Sofía Vela y Querol
Oil on canvas. 1850
Madrazo y Kuntz, Federico de
Sofía Vela y Querol
Oil on canvas. 1850
Madrazo y Kuntz, Federico de

Although Federico de Madrazo began working in the genre of historical painting, his gifts as an artist promptly led him to portraiture, which he cultivated in all its forms throughout his lengthy career and in which he conspicuously excelled. This portrait of Sofía Vela is one of the best from the artist´s romantic period and is a superb example of the intimate portrait. It was exhibited at

The Family of Carlos IV
Oil on canvas. 1800
Goya y Lucientes, Francisco de
The Family of Carlos IV
Oil on canvas. 1800
Goya y Lucientes, Francisco de

This portrait of the family of King Carlos IV (1748-1819) was painted in Aranjuez and Madrid in the spring and summer of 1800, shortly after Goya was named First Chamber Painter. It clearly show´s the artist´s mastery at individualizing characters. The forerunners to this complex composition are Louis-Michel van Loo´s Portrait of Felipe V and his Family (P02283) and Velázquez´s Las Meninas

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

En medio del paisaje, un castillo sobre un cerro; a la derecha, pastores y caminantes. Las figuras de esta obra y de las de P1371 a P1379 se atribuyen a Peeter Bout.

Philip V of Spain
Oil on canvas. Ca. 1700
García de Miranda, Juan
Philip V of Spain
Oil on canvas. Ca. 1700
García de Miranda, Juan

The Guard-Room
Oil on copperplate. 1640 - 1650
Teniers The Younger, David
The Guard-Room
Oil on copperplate. 1640 - 1650
Teniers The Younger, David

The foreground display of numerous military elements, banners, drums, cuirasses and weapons, leads to a genre painting showing some soldiers resting in the background. On the left of the composition, one of the pages works to hang up the soldiers' clothes. Here, as in his other works, Teniers shows his capacity to use light to achieve a perfect representation of the qualities of the objects depict

The Young Naturalists
Oil on canvas. 1893
Jiménez Aranda, José
The Young Naturalists
Oil on canvas. 1893
Jiménez Aranda, José

Jiménez Aranda spent the 1880s in France where he encountered the naturalistic style of Jules Bastien-Lepage (1848-1884), and a subsequent period in Madrid where his work influenced Joaquín Sorolla. This canvas was painted after his move to Seville in 1893. Its restrained delicacy reveals attentive, first-hand observation expressed through careful draughtsmanship and a markedly preci

The infanta María Amalia of Bourbon, with a book
Oil on canvas. 1791
Bayeu y Subías, Ramón
The infanta María Amalia of Bourbon, with a book
Oil on canvas. 1791
Bayeu y Subías, Ramón

Catalogado a su ingreso en el Museo en 1847 como “retrato de la Sa infanta Da Carlota Reyna de Portugal” de Joaquín Inza (1736-1811), forma parte de un grupo de retratos de infantes y del príncipe Fernando que Arturo Ansón Navarro (2012) identificó la modelo como la infanta María Amalia (1779-1798) de doce años y atribuyó el retrato a Ramón Bayeu por motivos estilísticos y por su relación document

John II of Castile
Oil on canvas. 1848
Prats y Velasco, Francisco
John II of Castile
Oil on canvas. 1848
Prats y Velasco, Francisco

The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the

Favila of Asturias
Oil on canvas. Ca. 1853
Esquivel y Rivas, Carlos María
Favila of Asturias
Oil on canvas. Ca. 1853
Esquivel y Rivas, Carlos María

The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the

Henry III of Castile, the Mourne
Oil on canvas. 1848
Ortega Matamoros, Calixto
Henry III of Castile, the Mourne
Oil on canvas. 1848
Ortega Matamoros, Calixto

The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the

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