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Pedro Benítez and his Daughter María de la Cruz
Oil on canvas. Ca. 1820
Tegeo Díaz, Rafael
Pedro Benítez and his Daughter María de la Cruz
Oil on canvas. Ca. 1820
Tegeo Díaz, Rafael

In this portrait, Pedro Benítez sits informally on a chair, resting his left arm on its back while gazing frankly and directly at the viewer with whom he establishes an empathetic relationship. He is dressed in the fashion of the reign of Ferdinand VII, with a marvellous cravat emerging from his vest and a book in his right hand. Beside him, standing, is his daughter María de la Cruz

Concepción Remisa
Oil on canvas. 1856
Madrazo y Kuntz, Federico de
Concepción Remisa
Oil on canvas. 1856
Madrazo y Kuntz, Federico de

Concepción Remisa de Moret was the wife of Segismundo Moret y Quintana, a famous nineteenth-century Spanish writer, politician and landowner whose portrait -also by Madrazo- is in the Prado Museum collection as well (P04466). The purity of lines and delicate rendering of this work reveal the influence that the French painter, Jean Auguste Dominique Ingres (1780-1867), had on Federico de Mad

The Virgin and Child with the Infant Saint John the Baptist
Oil on panel. Ca. 1570
Morales, Luis de
The Virgin and Child with the Infant Saint John the Baptist
Oil on panel. Ca. 1570
Morales, Luis de

Morales here presents us with one of his most successful and heartwarming subjects, that of the Virgin and Child, although he also includes in this case the figure of the infant St John the Baptist, who looks out at the viewer with his blue eyes and, with a Harpocratic gesture, asks for silence so that Jesus’s sleep will not be disturbed. Illuminated by a strong light source, the scene stands out

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

Dario de Regoyos Playing the Guitar
Oil on canvas mounted on panel. 1885
Rysselberghe, Theo Van
Dario de Regoyos Playing the Guitar
Oil on canvas mounted on panel. 1885
Rysselberghe, Theo Van

La obra corresponde al primer periodo pictórico de Théo Van Rysselberghe, en el que los pintores que más admiraba constituían su guía para la realización de sus obras. Entre ellos se encontraban su profesor Portaels, los hermanos Stevens, el veterano Gillaume Vogels cofundador del círculo de Los XX y sobre todo el pintor americano James Abbott Mc-Neil Whistler, al cual había conocido en 1884 con m

Margaret of Austria
Oil on canvas. 1606
Pantoja de la Cruz, Juan
Margaret of Austria
Oil on canvas. 1606
Pantoja de la Cruz, Juan

Margaret, who married Philip III in 1599, was the daughter of the Archduke of Bavaria. In this portrait by Pantoja de la Cruz -the most representative painter of the reign- she wears the so-called “Rich jewel”, a dynastic heirloom comprising the diamond known as “El estanque” (The Pool) and the famous large pearl known as “La peregrina” (The Pilgrim).

The Poultry Vendor
Oil on canvas. 1626
Loarte, Alejandro de
The Poultry Vendor
Oil on canvas. 1626
Loarte, Alejandro de

This is Loarte’s most ambitious work among his still lifes. A depiction of a market stall in the Plaza de Zocodover in Toledo, it marks the end of a career cut short by the artist’s early death. Brushwork, colour and lighting are used to create a composition of notable visual impact, of which another version of the same date is known.

Tityus in Chains
Oil on canvas. 1590 - 1596
Martínez, Gregorio
Tityus in Chains
Oil on canvas. 1590 - 1596
Martínez, Gregorio

The Giant Tityus was condemned to the punishment of having a vulture endlessly devour his entrails. Martínez was inspired by a composition by Michelangelo which in turn looked to the Hellenistic sculpture of The Laocoön, rediscovered in Rome in 1506. The exceptional nature of this work within Spanish painting of the period, when mythology and the nude were rarely depicted, reflects the

The Fall of Lucifer
Oil on canvas. 1840
Esquivel, Antonio María
The Fall of Lucifer
Oil on canvas. 1840
Esquivel, Antonio María

Lucifer was one of God´s favorite angels. He was expulsed from Heaven when he rebelled against His power. To represent the subject, Esquivel chose the moment when, with a stern expression, Saint Michael separates him from Celestial Glory. The subject is comparable to Saint Michael´s fight with the dragon of sin, which was frequently depicted by innumerable artists. Nevertheless, Esquivel eschews t

Saint Joseph's Dream
Oil on canvas. Ca. 1662
Herrera The Younger, Francisco de
Saint Joseph's Dream
Oil on canvas. Ca. 1662
Herrera The Younger, Francisco de

An angel appears to Saint Joseph in his sleep, pointing to the dove of the Holy Ghost as the heavens open in a luminous burst of glory. Under the dove, a group of angels carry a mirror and flowers alluding to the fact that Mary remains a virgin despite her pregnancy. On a mat alongside the saint, we see an adze, a hand drill and other carpentry tools.Saint Joseph’s Dream was a relatively frequent

Execution of Torrijos and his Companions on the Beach at Málaga
Oil on canvas. 1888
Gisbert Pérez, Antonio
Execution of Torrijos and his Companions on the Beach at Málaga
Oil on canvas. 1888
Gisbert Pérez, Antonio

The finest work of all Gisbert’s production, this impressive painting is also unarguably one of the most beautiful of all 19th-century Spanish history paintings. Moreover, it is one of the greatest political manifestos of all Spanish painting in defense of human freedom crushed by authoritarianism and one of the very few cases in which a clear propagandistic message was directly inspired by govern

The Death of Hyacinth
Oil on panel. 1636 - 1637
Rubens, Peter Paul
The Death of Hyacinth
Oil on panel. 1636 - 1637
Rubens, Peter Paul

Apollo helplessly contemplates the death throes of his beloved Hyacinth, who was hit by one of the discs the two were throwing in a display of their athletic skills. This is one of the preparatory sketches Rubens made for the painting Jan Cossiers carried out for use in the Torre de la Parada. Rubens based this work on a sketch by Michelangelo, revealing his interest in Renaissance artists.

A veteran telling his adventures
Oil on canvas. Ca. 1840
Alenza, Leonardo
A veteran telling his adventures
Oil on canvas. Ca. 1840
Alenza, Leonardo

A group of people surround a standing man who gesticulates, appearing to tell a story. Alenza painted numerous small-format scenes of customs depicting the least-advantaged social classes. As in this work, they reveal the influence of Goya, and of works in the Prado by David Teniers (1610 - 1690).

Port with Castle
Oil on copperplate. Ca. 1601
Bril, Paul
Port with Castle
Oil on copperplate. Ca. 1601
Bril, Paul

En un puerto, los habitantes de la aldea enclavada en el acantilado que cierra el espacio por la derecha están ocupados en diversas tareas: cargando y afianzando las mercancías en las barcazas ancladas en la orilla, pescando o reparando un bote. En el primer plano, a la derecha, tres hombres se han sentado a descansar en torno a una hoguera encendida bajo un chamizo protegido por las rocas y el ár

The Wine of Saint Martin's Day
Glue-size on twill / twill weave canvas. 1566 - 1567
Bruegel The Elder, Pieter
The Wine of Saint Martin's Day
Glue-size on twill / twill weave canvas. 1566 - 1567
Bruegel The Elder, Pieter

Practically unknown until now, the present canvas has only been mentioned and reproduced in an article by Matías Díaz Padrón, former curator at the Prado, that was published in Archivo Español de Arte in 1980. The author, who had not seen the painting at first hand, attributed it to Pieter Brueghel the Younger.The canvas depicts the Saint Martin`s Day wine festival. The

Ella J. Seligmann
Oil on canvas. 1913
Sorolla y Bastida, Joaquín
Ella J. Seligmann
Oil on canvas. 1913
Sorolla y Bastida, Joaquín

During his trip to Paris in the autumn of 1913 Sorolla painted the wife of Jacques Seligmann, a leading art dealer of German origin, emphasising her beauty and elegance through the use of a restrained background painted with very loose brushstrokes. Impasto is reserved for the brightest areas such as the flesh tones and the sumptuous white shawl.

The Virgin Dolorosa (?)
Oil on panel. Late XV century
Bouts, Dirk
The Virgin Dolorosa (?)
Oil on panel. Late XV century
Bouts, Dirk

Posiblemente es una Dolorosa, pero el letrero del marco antiguo la identifica como Santa Mónica. Recuerda el tipo de rostro de la santa mujer que aparece al borde derecho del Descendimiento de Dirk Bouts, de la Capilla Real de Granada y deriva de modelos de Dolorosa creados por el mismo autor. Es obra de un seguidor de finales del S. XV

The Immaculate Conception
Oil on canvas. Ca. 1645
Castillo Saavedra, Antonio del
The Immaculate Conception
Oil on canvas. Ca. 1645
Castillo Saavedra, Antonio del

All parts of this extraordinarily meticulous work are related to each other from a formal and iconographic standpoint. The Virgin appears in the foreground, where she occupies a considerable portion of the pictorial surface. This insures her powerful presence, and the painter emphasizes it with a very elaborate frame that fills the image with meaning. There are two clearly differentiated parts, th

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