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Saint Francis in Prayer
Oil on canvas. 1659
Zurbarán, Francisco de
Saint Francis in Prayer
Oil on canvas. 1659
Zurbarán, Francisco de

We can identify Saint Francis by his habit, his rope belt and the wound on his right hand. He raises his gaze towards heaven and holds a skull in his left hand. A crucifix rests on a book in front of him in this scene that presents him deep in prayer as a direct result of his meditations.Painted in Madrid in 1659 during the final years of Zurbarán’s life, Saint Francis at Prayer is a paradi

Diego del Corral y Arellano
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y
Diego del Corral y Arellano
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y

Of the people with whom Velázquez must have had contact on a daily basis at the palace, many would have been high functionaries or skilled servants of the court. His own social aspirations included becoming a member of that professional group, which he eventually joined, and he made portraits of some of them, including two now at the Museo del Prado: Diego del Corral, shown here, and his wi

View of Toledo
Oil on canvas. 1900 - 1905
Arredondo y Calmache, Ricardo
View of Toledo
Oil on canvas. 1900 - 1905
Arredondo y Calmache, Ricardo

Toledo was one of the cities that attracted the interest of artists and writers, from the romantics to the Generation of 1898. It possessed a rich and varied past, from its pre-Roman origins to its status as the capital of the Visigoths; as the city later renowned for the relatively peaceful cohabitation of Muslims, Jews and Christians during the period of Moorish rule; and, finally, as the imperi

Antonia de Ipeñarrieta y Galdós and her Son, Luis
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y
Antonia de Ipeñarrieta y Galdós and her Son, Luis
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y

Of the people with whom Velázquez must have had contact on a daily basis at the palace, many would have been high functionaries or skilled servants of the court. His own social aspirations included becoming a member of that professional group, which he eventually joined, and he made portraits of some of them, including two now at the Museo del Prado: Diego del Corral (P01195) and his wife,

Interior of a Café-concert
Oil on canvas. Ca. 1900
Anglada Camarasa, Hermenegildo
Interior of a Café-concert
Oil on canvas. Ca. 1900
Anglada Camarasa, Hermenegildo

Following his arrival in Paris in 1894, Anglada-Camarasa became extremely interested in the city’s nightlife. The interior of this café-concert, one of the many to be found in the capital, is seen without the audience or the performers, allowing the artist to focus on the effects of the artificial lights that produce a wide range of reflections and colours.

Grindelwald
Oil on canvas. 1907
Beruete, Aureliano de
Grindelwald
Oil on canvas. 1907
Beruete, Aureliano de

In the summers of 1905 to 1907 Aureliano de Beruete painted the landscape of the Alps. From the Swiss village of Grindelwald he climbed up to the Kleine Scheidegg pass by Mount Eiger where he painted from life. His rapid technique of broad brushstrokes and his ability to capture the local colour that tints the snow reveal an original interpretation of Impressionist pictorial devices.

Landscape
Oil on canvas. Ca. 1910
Beruete, Aureliano de
Landscape
Oil on canvas. Ca. 1910
Beruete, Aureliano de

Boys on the Beach
Oil on canvas. 1909
Sorolla y Bastida, Joaquín
Boys on the Beach
Oil on canvas. 1909
Sorolla y Bastida, Joaquín

The series of paintings featuring the ‘children in the water’ motif culminates in this work, in which nude boys play a greater part in the composition than in other pictures by Sorolla. While it is signed in 1910 and this chronology has been followed by almost everyone, the artist must have painted it in the summer of 1909, as the image was already reproduced in a book by Rafael Doménech th

Saint Anthony of Padua with the Infant Christ
Oil on canvas. 1635 - 1650
Zurbarán, Francisco de
Saint Anthony of Padua with the Infant Christ
Oil on canvas. 1635 - 1650
Zurbarán, Francisco de

Breton Fisherwomen
Oil on canvas. 1905
Benedito Vives, Manuel
Breton Fisherwomen
Oil on canvas. 1905
Benedito Vives, Manuel

Considered one of Benedito’s finest works by critics, this canvas depicts a group of picturesque women on the coast at Concarneau in Brittany. Benedito went there with Sotomayor during his time as a grant student in Rome, attracted by the distinctive culture of north western France which had already captivated numerous other European artists.

Female Portrait
Oil on canvas attached to plastic. Ca. 1900
Anonymous
Female Portrait
Oil on canvas attached to plastic. Ca. 1900
Anonymous

Reproducción de un retrato pintado hacia 1740-45. La dama representada guarda cierto parecido con Luisa Isabel de Borbón (1727-1759), hija de Luis XV y María Leszczynska, esposa del infante Felipe de Borbón, duque de Parma (1720-1765). A mediados del siglo XVIII, el retrato miniatura se pintaba sobre vitela o marfil y rara vez se optó por pintar al óleo sobre naipes o chapas de cobre; es excepcion

A Slave for Sale
Oil on canvas. Ca. 1897
Jiménez Aranda, José
A Slave for Sale
Oil on canvas. Ca. 1897
Jiménez Aranda, José

A young, completely nude slave sits on a carpet. The sign hanging from her neck bears a Greek inscription (Rose, 18 years old, on sale for 800 coins) that offers her as merchandise at an Oriental market. She chastely hangs her head to hide her shame. The feet of her possible purchasers are visible behind her as they crown around to contemplate her defenseless nudity. This is one of Jiménez

Alida de Lange, Wife of Johan Rammelman
Oil on canvas. Ca. 1679
Netscher, Caspar
Alida de Lange, Wife of Johan Rammelman
Oil on canvas. Ca. 1679
Netscher, Caspar

These two paintings were first shown in Amsterdam in 1858. On that occasion the sitters were identified as Lambert Witsen and his wife Sara Nuyts owing to the woman`s purported similarity to the portrait of the latter (Amsterdam Historisch Museum, inv. SA 989) dated 1684 and included thus by Jan de Baen (1633-1702) in his work, Portrait of the Regents of the Spinhuis in Amsterdam.Moes (1897-1905)

Johan Rammelman
Oil on canvas. Ca. 1679
Netscher, Caspar
Johan Rammelman
Oil on canvas. Ca. 1679
Netscher, Caspar

These two paintings (P7607 and P7608) were first shown in Amsterdam in 1858. On that occasion the sitters were identified as Lambert Witsen and his wife Sara Nuyts owing to the woman`s purported similarity to the portrait of the latter (Amsterdam Historisch Museum, inv. SA 989) dated 1684 and included thus by Jan de Baen (1633-1702) in his work, Portrait of the Regents of the Spinhuis in Amsterdam

Isaiah
Oil on panel. Ca. 1525
Master Of Becerril
Isaiah
Oil on panel. Ca. 1525
Master Of Becerril

This painter is one of the most outstanding and singular representatives of the early Renaissance in Palencia. While there are no extant documents to prove it, this work must somehow be connected with Juan de Flandes (doc. 1496-1519) during the time that he was working in Palencia (1509-1519). This is visible in the strong dependence of its figures on Flandes´s models, as well as the manner of dep

Tobias healing his Father
Oil on canvas. 1640 - 1644
Strozzi, Bernardo
Tobias healing his Father
Oil on canvas. 1640 - 1644
Strozzi, Bernardo

This Old-Testament scene (Tobias 11, 1-19), illustrates the moment when, following the Archangel Raphael´s instructions, Tobias places fish liver on his blind father´s eyes. Tobias the father and Tobias, the son, appear in company of the Archangel and Anne, the father´s wife, as well as a dog and a fish. This scene, the Archangel´s revelation and a song of praise mark the end the Bible´s book of T

The Virgin and Child with a Spindle
Oil on panel. 1566
Morales, Luis de
The Virgin and Child with a Spindle
Oil on panel. 1566
Morales, Luis de

This panel formed part of an altar dedicated to St Anne at Badajoz Cathedral. Commissioned by the bishop at that time, Juan de Ribera (1532-1611), it shows the young Virgin Mary seated half-length against an intensely dark background while the Christ Child, approximately a year old, rests on her lap. Jesus reclines and turns his head to look more intently at a winding frame in the form of a cross,

Saint Didacus of Alcalá
Oil on canvas. Ca. 1658
Zurbarán, Francisco de
Saint Didacus of Alcalá
Oil on canvas. Ca. 1658
Zurbarán, Francisco de

The Franciscan Saint Diego de Alcalá (1400-1463) used to take bread from the table of his convent to give to the poor. On being challenged by the guard, who asked to see what was carrying in his habit, the saint replied that they were roses, and the bread was miraculously transformed into flowers. This painting, featuring monumental figures of well-defined forms, was probably the work of Zu

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