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Female Nude
Oil on panel. 1894
Pinazo Camarlench, Ignacio
Female Nude
Oil on panel. 1894
Pinazo Camarlench, Ignacio

This portrait of a nude young woman sitting in an armchair with her clothing falling to her feet and a certain gesture of modesty betrays the artist´s satisfaction with the subject of nudes and the sensuality of the female body. The coloring tends towards reds and yellows and is one of the singular elements of this nude, which is one of several painted by Pinazo. Here, the amount of paint seems to

Vanitas
Oil on canvas. 1662
Negri, Pietro
Vanitas
Oil on canvas. 1662
Negri, Pietro

This work entered the Museo del Prado in 1916 titled Penitent Magdalene, along with almost ninety other Italian, French, Flemish and Spanish works from the fifteenth to eighteenth centuries, nearly all with religious subjects. They were part of the bequest of Pablo Bosch y Barrau, a financier who loved and studied art. In 1924 Hermann Voss attributed this painting to Antonio Zanchi (1631-1722), a

Mary Magdalene Reading
Oil on panel. First half of the XVI century
Isenbrandt, Adriaen
Mary Magdalene Reading
Oil on panel. First half of the XVI century
Isenbrandt, Adriaen

Mary Magdalene is depicted slightly more than half-length. She is slightly turned and reads a book inside a room. The jar of salve bearing the inscription “Magdele” identifies her and helps to avoid confusion with representations of the Annunciation. Isenbrand follows models created in the previous century, from Van der Weyden to Gérard David. The slight sfumato in Mary´s face and her graci

A Crossbowman
Oil on oak panel. Second half of the XVI century
Bosch, Hieronymus (Copy)
A Crossbowman
Oil on oak panel. Second half of the XVI century
Bosch, Hieronymus (Copy)

A model similar to this one appears in the Crown of Thorns at the Royal Museum of Fine Arts in Antwerp, specifically, the figure who is supposed to place the crown of thorns on Christ´s head. The figure in the present work differs from it in the presence of a silver shell on his hat and a crossbow-shaped broach on his suit. Recent studies consider it a copy made during the second half of the sixte

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

Mariano San Juan y Pinedo, Future Count Consort of La Cimera
Oil on canvas. Ca. 1813
Esteve, Agustín
Mariano San Juan y Pinedo, Future Count Consort of La Cimera
Oil on canvas. Ca. 1813
Esteve, Agustín

Born in 1803, the boy wears the cadet’s uniform of the naval college. The whiteness of the suit and the painstaking detail of the embroidery on the jacket and cap afford the portrait its characteristic clarity. The sitter’s serious mood and calm bearing indicate that he has left childhood behind and is prepared for his future responsibilities, as denoted by his hand gesture. The greyish background

The Betrothal of the Virgin / Cristo Patiens
Oil on panel. 1470 - 1500
Master Of The Legend Of Saint Catherine
The Betrothal of the Virgin / Cristo Patiens
Oil on panel. 1470 - 1500
Master Of The Legend Of Saint Catherine

La pintura, presenta al obispo oficiante en el centro de la composición, entre San José y la Virgen, con las manos unidas y de cada lado, sus parientes y amigos. A la izquierda, en primer término, el donante arrodillado, vestido de negro. La escena tiene lugar en el interior de un templo que abre a un paisaje urbano, del que puede verse la fachada de un edificio con estrechos ventanales.El reverso

The Dead Christ supported by an Angel
Oil on canvas. 1646 - 1652
Cano, Alonso
The Dead Christ supported by an Angel
Oil on canvas. 1646 - 1652
Cano, Alonso

In this painting, an angel with a sorrowful expression supports the body of Christ in an upright, seated position. The clearly visible wounds on Christ´s hands indicate He has already been crucified and has died. The bloodless colour of the limbs and bowed head add to a cadaverous appearance. At His feet, the washbasin, the two nails and the crown of thorns all evoke the recent crucifixion. The an

Mater Dolorosa
Oil on panel. 1482 - 1484
San Leocadio, Paolo Da
Mater Dolorosa
Oil on panel. 1482 - 1484
San Leocadio, Paolo Da

A devotional image of the Virgin Mary wearing blue and white, with a halo. She looks directly at the viewer, transmitting her sorrow at the death of Christ. The bust is completed with a gilded inner frame that contrasts with the greater volume and expressionism of the Virgin´s face. These aspects reveal the painter´s evolution towards more modern forms. This work attributed to Paolo de San Leocadi

The Holy Family
Oil on panel. 1522
Orley, Bernard Van
The Holy Family
Oil on panel. 1522
Orley, Bernard Van

The Holy Family is shown indoors, in front of a window thought which a costal landscape is visible. The Christ Child stands on a sumptuous carpet and plays with his mother. Saint Joseph holds an apple —an allusion to the Garden of Eden-that symbolizes Mary´s condition as the new Eve. An Angel crowns the Virgin as Queen of Heaven while another offers her a basket of flowers like those resting on th

Saint Barbara
Oil on panel. Ca. 1520
Master Of Becerril
Saint Barbara
Oil on panel. Ca. 1520
Master Of Becerril

The saint stands with a palm frond in her left hand and her right resting on a tower with the inscription "Santa Varbara". This work from the Palencian school was documented in the early 16th century and is strongly influenced by Juan de Flandes. Today, it is attributed to the Master of Becerril, whose figures and technique are very characteristic.

Still-Life
Oil on canvas. Ca. 1630
Burgos Mantilla, Francisco de
Still-Life
Oil on canvas. Ca. 1630
Burgos Mantilla, Francisco de

This work shows a thistle, chestnuts and a conical white-wine glass of the type known as Humpen, with raised concentric vitreous rings on the outer surface.

The Coronation of the Virgin
Oil on canvas. Ca. 1653
Herrera Barnuevo, Sebastián de
The Coronation of the Virgin
Oil on canvas. Ca. 1653
Herrera Barnuevo, Sebastián de

Restituida por Pérez Sánchez al pintor madrileño Herrera Barnuevo, después de haber sido considerada como obra anónima de escuela veneciana o simplemente anónimo italiano de finales del siglo XVII. Sería pintada a mediados de aquel siglo y, en efecto, su paleta denota sentir gran admiración por el mundo veneciano del siglo anterior. Sin embargo, analizando su vinculación con los modelos de Alonso

Faun (Nude study of a child)
Oil on panel. 1888
Pinazo Camarlench, Ignacio
Faun (Nude study of a child)
Oil on panel. 1888
Pinazo Camarlench, Ignacio

A young man lies face down on the earth, crowned with grape leaves in the fashion of the god, Bacchus. This mythological touch, which Pinazo developed in part of his oeuvre, shows the influence of his time in Italy. This nude also clearly shows how important light was in many of this artist´s works. here it can be seen in the reverberant effect of the white cloth that cover´s the model´s legs. Thi

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

The Burial of Christ
Oil on slate. Late XVI century
Bassano (Workshop Of)
The Burial of Christ
Oil on slate. Late XVI century
Bassano (Workshop Of)

The Bassanos’s studio specialized in the serial production of small works for private devotion based on the great composition by the head of the family, Jacopo. The Burial of Christ, painted on slate, is an example of this type. The paint losses are due to the surface of the slate being excessively polished before painting.

The Visitation
Oil on panel. Ca. 1500
Master Of Perea
The Visitation
Oil on panel. Ca. 1500
Master Of Perea

This is a scene from the New Testament (Luke 1, 39-56) when the Virgin Mary is pregnant with Jesus. Accompanied by Saint Joseph, she goes to visit her cousin, Elizabeth, who is pregnant with Saint John. The scene immediately previous to the main scene is visible in the background: the Virgin and Saint Joseph are directed to the house of Elizabeth and her husband, Zachariah, by two angels. The elon

Christ Blessing
Mixed method on panel. 1494 - 1496
Gallego, Fernando
Christ Blessing
Mixed method on panel. 1494 - 1496
Gallego, Fernando

On his throne, wearing a red tunic and holding the globe of the World in his left hand, Christ offers his blessing with his right. He is flanked by figures representing the Church and the Synagogue and surrounded by the Tetramorph. Christ is presented as the Savior of the world in this work that contrasts the figure of the Synagogue, with Moses’s tablets and a torn banner; and the figure of the Ch

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