Loading...
This canvas is one of a group of portraits collected by María Luisa de Orleans (1662-1689), first wife of Carlos II of Spain, which would become part of the Royal Collection. Some of these paintings must have decorated the Queen´s Gallery in the Alcázar (Madrid), a representation space where the Queen launched a decorative and iconographic program of exaltation of her dynasty. Others
Xavier de salas, en nota manuscrita conservada en el servicio de documentación del Museo del Prado, afirmaba: El retratado en el Prado sea quien fuese es indudablementeel que aparece en el ángulo inferior derecho del lienzo de la National Gallery atribuido aVelázquez y supuesto una fiesta de familia, que por las semejanzas con el retrato de Jordán del Prado supuso Beruete era obra suya. Las caract
Retrato de compromiso de María Luisa de Orleans (París, 27/03/1662 - Madrid, 12/02/1689), enviado a Madrid ante sus esponsales con Carlos II de España. Antes de ser reina de España fue conocida como "Mademoiselle d´Orléans", ya que fue hija de Felipe I de Orleans (hermano de Luis XIV de Francia) y de Henriette Anne, princesa de Inglaterra; nieta de Luis XIII y de Ana de Austria por línea paterna y
La obra forma parte de una serie de cuatro lienzos que representan a los Padres de la Iglesia occidental, procedente del convento de Nuestra Señora de la Soledad de Madrid. Son copias de un conjunto realizado en Italia con mucha probabilidad durante el breve pontificado de Gregorio XV Ludovisi (1621-1623) cuyos originales, solo en parte localizados, pueden adscribirse a Giovanni Lanfranco (San Amb
The seated model is sumptuously dressed, with silver-lamé collar and cuffs, a pearl choker and a very dark green dress with silver decorations on her skirt and gold ones on the bodice and sleeves. She has flowers in her hair and long earrings. The heavy crimson velvet curtain behind her is echoed by a matching mat on the buffet. The scene opens onto an urban background that recalls the city
This composition retains the structure of traditional triptychs, but the landscape links the three panels together to form a single scene, thus including the pilgrim-donor and Saint Ursula in the Mystic Marriage. The landscape includes scenes relating to the respective figures: walking pilgrims, the martyrdom of Saint Catherine, the Massacre of the Innocents and the Flight into Egypt.
This canvas by a late 17th-century painter is part of a group of four works, all at the Museo del Prado (P191, P3196, P3197 and P3198), that express the idea of the Elements through motives drawn from classical mythology. The female figure that represents Air is accompanied by the Winds. In her right hand, she carries a bag that sprinkles water, representing rain, while the ray of light represents
The 1910 catalogue states that Bredius attributed this painting to Jacop Gerritsz. Cuyp (1594-1652), ascription that was officially accepted by the Museum in 1985. However, neither the typology nor the style correspond to Cuyp`s portraits. Moreover, the oval-shaped panel is characteristic of Amsterdam portraitists. Fred Meijer thus believes that this could be the work of a painter who belonged to
The six figures that make up the scene of this small canvas are organised across a widely elongated foreground. The figures are arranged as follows (left to right): Saint Elizabeth with Saint John the Baptist as a Boy; Saint Catherine, who occupies the centre-left; whereas the right position is reserved for Mary with Jesus in her arms, who puts the mystical betrothal ring to the saint. The last fi
This painting is a copy of the lower part of El Greco’s celebrated original on display in the church of Santo Tomé, Toledo. A work of considerable quality, it reveals an interesting variety of pictorial devices: heavily charged brushstrokes in the areas of the chasubles and ruffs, with the pigment dragged and scumbled in other zones such as the Franciscan’s habit. It was formerly in the Jes
In this half-length portrait, the young man wears a red cap and holds a musical instrument that combine features of both the vihuela and the violin. While only partially visible, its fretted neck suggests it belongs to the family of the bowed vihuela or viola da gamba, but its bow and part of the pegbox are closer in appearance to those of the violin family, suggesting it is a hybrid of both. Thes
After Bosch’s death, his style remained very successful both in the Netherlands and in Italy and Spain. This picture, painted nearly half a century after his death, is an example of the many that were produced in imitation of his style. In this case, the scene is inspired by the representation of Hell in The Garden of Earthly Delights, which also belongs to the Prado.
La obra forma parte de una serie de cuatro lienzos que representan a los Padres de la Iglesia occidental, procedente del convento de Nuestra Señora de la Soledad de Madrid. Son copias de un conjunto realizado en Italia con mucha probabilidad durante el breve pontificado de Gregorio XV Ludovisi (1621-1623) cuyos originales, solo en parte localizados, pueden adscribirse a Giovanni Lanfranco (San Amb
Companion of the work The Bonfire (P07111). Scenes of this type are commonly found in nineteenth-century paintings inspired by Goya. The artist’s followers looked to his most cruel, violent compositions such as Cannibals (Besançon, Musée des Beaux-Arts) or the scenes of attacks by bandits (Marqués de la Romana collection). The rendition of the anatomies, their particular expre
In 1765 María Luisa de Borbón (1745-1792), daughter of Charles III, married the Austrian Archduke Leopold, Grand Duke of Tuscany, in Innsbruck. Her exquisite clothes and hairstyle reflect the fashion of that year. Just visible on the right side of the dress at bust level is the dark bow and gilt surround of the plaque of the Starred Cross of Maria Theresa, which María Luisa re
This canvas is one of a group of portraits collected by María Luisa de Orleans (1662-1689), first wife of Carlos II of Spain, which would become part of the Royal Collection. Some of these paintings must have decorated the Queen´s Gallery in the Alcázar (Madrid), a representation space where the Queen launched a decorative and iconographic program of exaltation of her dynasty. Others
