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Mariquiña de Valle-Inclán
Oil on canvas. Ca. 1928
Echevarría Zuricalday, Juan de
Mariquiña de Valle-Inclán
Oil on canvas. Ca. 1928
Echevarría Zuricalday, Juan de

This depiction of the fourth daughter of the famous Galician writer Ramón María del Valle-Inclán is a good example of the small-format portraits of close friends that so notably differ from Echevarría’s celebrated portrait gallery of representatives of the Generation of 98. The Gerstenmaier Collection still includes the portrait of Kukuru, Mariquiña’s dog, a canv

The Annunciation
Oil on canvas. 1637
Pereda y Salgado, Antonio de
The Annunciation
Oil on canvas. 1637
Pereda y Salgado, Antonio de

Pointing with its left hand to God the Father, the Archangel Gabriel appears to Mary to tell her that she will conceive a child. The Dove of the Holy Spirit descends in a ray of light above the Virgin. Pereda’s painting combines the detailed description and rich chromatism characteristic of his style.

The Model Aline Masson
Oil on panel. Ca. 1876
Madrazo y Garreta, Raimundo de
The Model Aline Masson
Oil on panel. Ca. 1876
Madrazo y Garreta, Raimundo de

Aline Masson was Madrazo’s favourite model for genre paintings. Her heavy-lidded gaze and slightly defiant attitude convey the frivolous atmosphere of Paris, where Madrazo’s portraits met with great acclaim. Here, the artist displays his technical skill in using a reduced range of colours, applied with deft, confident brushstrokes.

Boy with a Wicker Basket
Oil on canvas. Ca. 1786
Bayeu y Subías, Ramón
Boy with a Wicker Basket
Oil on canvas. Ca. 1786
Bayeu y Subías, Ramón

This cartoon for a tapestry to be placed over a door or window shows a street vendor, a subject based on the popular and very widely distributed etchings by the Bolognese artist Annibale Carracci (1560-1609). This work of extraordinary refinement is notable especially for the boy`s noble pose, a masterly rendition by the artist of the attempts by enlightened reformers to revitalise and dignify man

The rustic Offering
Oil on canvas. Ca. 1786
Bayeu y Subías, Ramón
The rustic Offering
Oil on canvas. Ca. 1786
Bayeu y Subías, Ramón

A handsome dandy gallantly offers fruit to a seated lady accompanied by her maid. This seductive, erotic gesture arouses the young woman’s emotions while in the background a cloaked majo jealously observes the aristocratic delicacy of the amorous encounter. This canvas is a close copy of a preparatory sketch by Francisco Bayeu, Ramón’s brother, which was subsequently included in the work Th

The Mystic Marriage of Saint Catherine
Oil on canvas. 1660
Cerezo, Mateo
The Mystic Marriage of Saint Catherine
Oil on canvas. 1660
Cerezo, Mateo

The wheel by the figure’s feet, her palm of martyrdom and crown identify her as Saint Catherine who received the wedding ring from the Infant Christ in reward for her virtue. The basket in the foreground demonstrates Cerezo’s outstanding abilities as a still-life painter.

Isabel de Borbón, Wife of Philip IV
Oil on canvas. Ca. 1620
Villandrando, Rodrigo de
Isabel de Borbón, Wife of Philip IV
Oil on canvas. Ca. 1620
Villandrando, Rodrigo de

The daughter of Henri IV of France and Marie de Médicis, Isabel de Borbón (1603-1644) was the first wife of Philip IV and the mother of Prince Baltasar Carlos and María Teresa of Austria. In Villandrando’s portrait, painted a year before Isabel became Queen of Spain, she wears a stiff, sumptuous dress that emphasises her presence and royal status. Although Spanish in cut, the

The Mystic Marriage of Saint Catherine, with Saint Ursula and a Donor
Oil on panel. Ca. 1520
Anonymous
The Mystic Marriage of Saint Catherine, with Saint Ursula and a Donor
Oil on panel. Ca. 1520
Anonymous

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.

The Ham and Sausage Seller
Oil on canvas. Ca. 1786
Bayeu y Subías, Ramón
The Ham and Sausage Seller
Oil on canvas. Ca. 1786
Bayeu y Subías, Ramón

Cartoon for a tapestry in the Ambassadors’ Hall at El Escorial, painted after a sketch by Francisco Bayeu. The seller of ham and sausage, accompanied in the distance by a water seller, is an eighteenth-century Spanish reflection, with the popular costumes of the period, of the tradition of compositions on street vendors that was established in Italy in the early seventeenth century.

The Pentecost
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
The Pentecost
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista

On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight months to make the paintings, which had to portray the scenes and episodes specified by the prior of the monastery. Despite the agreement reached in the contract, the paintings were not completed until De

The Virgin of Louvain
Oil on panel. Ca. 1520
Orley, Bernard Van
The Virgin of Louvain
Oil on panel. Ca. 1520
Orley, Bernard Van

According to the Latin inscription on the back of this panel, which attributes it to Jan Gossaert, it was acquired by the magistrate of Louvain in 1588 from that city’s Augustinian monks. It was intended as a gift of thanks to Philip II for having waived the taxes and tariffs owed by the inhabitants of Louvain for twelve years after that city was decimated by the plague in 1578. Seeking to give th

Bishop Rovenius blessing a Family (that of Jacob van Wassenaer?)
Oil on canvas. Ca. 1650
Breenbergh, Bartholomeus
Bishop Rovenius blessing a Family (that of Jacob van Wassenaer?)
Oil on canvas. Ca. 1650
Breenbergh, Bartholomeus

This painting entered the holdings of the Museo del Prado as an anonymous Flemish work, although the 1873 catalogue reports the attribution to the Le Nain brothers proposed by M. de Chennevières based on its purported similarity to The Procession (Paris, Musée du Louvre, inv. 6841), then held to be an original work by these artists. From 1942 onwards it is listed as executed by Frans

The raising of Lazarus
Oil on canvas. 1635 - 1640
Novelli, Pietro
The raising of Lazarus
Oil on canvas. 1635 - 1640
Novelli, Pietro

This painting has recently been identified as a work by Pietro Novelli, known as Il Monrealese on account of his having been born in Monreale, Sicily. It was considered until 1933 to be the work of Neapolitan painter Andrea Vaccaro, and after that time its authorship was demoted to Anonymous Neapolitan by the Museo del Prado. The painting passed largely unnoticed on account of its being on long-te

Concert of the Birds
Oil on canvas. XVII century
Snyders, Frans
Concert of the Birds
Oil on canvas. XVII century
Snyders, Frans

In this composition, various species of birds perched on the branches of a tree -a stork, an eagle, a red macaw, etc.- sing around a musical score. As in many of Frans Snyders’ compositions, the largest birds on the ends protect the smaller ones. According to Sánchez Cantón, this work comes from the collection of the Count-Duke of Olivares’ cousin, don Diego de Mejía y Fel&iac

Angel with a Crown of Lilies
Oil on canvas. 1767 - 1769
Tiepolo, Giovanni Battista
Angel with a Crown of Lilies
Oil on canvas. 1767 - 1769
Tiepolo, Giovanni Battista

This is a fragment of Saint Joseph with the infant Christ, painted for the convent church of San Pascual in Aranjuez, and now in Detroit. Although Giambattista required the help of his son Domenico to undertake the project, this small angel seems to be entirely painted by his own hand.

Hercules on the Pyre
Oil on canvas. 1697 - 1700
Giordano, Luca
Hercules on the Pyre
Oil on canvas. 1697 - 1700
Giordano, Luca

Representa la escena en la que Hércules está en la pira sobre la piel del león de Nemea. Filoctetes, amigo y compañero de Hércules, en la parte inferior del lienzo procede a prender fuego a la pira por petición del héroe, para paliar así su dolor. Más atrás aparecen dos mujeres lamentándose, una de ellas debe ser Deyanira, mujer de Hércules.La composición de esta pintura es ligeramente diferente a

The Virgin crowned by two Angels
Oil on panel. Ca. 1520
David, Gérard
The Virgin crowned by two Angels
Oil on panel. Ca. 1520
David, Gérard

A more than half-length image of the Virgin over a gold background. She holds the Christ Child while two angels crown her as Queen of Heaven. The thistles the Christ Child plays with are a clear allusion to the crown of thorns and the Passion of Christ. The Virgin´s thoughtful mien, gazing at her son with a presentiment of his destiny, gives the painting a melancholy air. The gold background was u

Sailing Boats in a River Estuary
Oil on panel. XVII century
Anonymous
Sailing Boats in a River Estuary
Oil on panel. XVII century
Anonymous

These two seascapes (P1581 and P1582) are traditionally considered pendants. In the Museum’s older catalogues and inventories they are attributed to Cornelis Molenaer (ca. 1540-1589) until 1933. As of 1889, however, it is recorded that Bredius considers them originals by Simon de Vlieger (1600-1653). The highly schematic architecture in the background, the clumsy depiction of the figures and the r

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