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Bathsheba at her Bath
Oil on canvas. 1696 - 1698
Giordano, Luca
Bathsheba at her Bath
Oil on canvas. 1696 - 1698
Giordano, Luca

Giordano ofrece una versión amable del pasaje bíblico que narra el encuentro del rey David y Betsabé, dando relevancia a los elementos exóticos, anecdóticos o decorativos, donde solo la sensualidad de Betsabé remite a la escabrosa historia narrada en el Libro de Samuel (II, 11: 2-27). David, acecha en el segundo plano, pintado con trazos ligeros y rápidos, construidos directamente sobre la prepara

The Resurrection of Christ
Tempera on pine panel. Second third of the XVI century
Correa de Vivar, Juan
The Resurrection of Christ
Tempera on pine panel. Second third of the XVI century
Correa de Vivar, Juan

Christ returned to life, triumphant alongside the sarcophagus that held his body for three days after his death on Golgotha, was a frequent subject in Correa´s work. The retable for the convent of the Poor Clares in Griñon (Madrid), dated around 1532-1534, shaped its essential compositional structure, with Christ at the center over a stone staircase bearing the sarcophagus and flanked by so

The Virgin nursing the Child
Mixed method on panel. Ca. 1490
Master Of The Luna Family
The Virgin nursing the Child
Mixed method on panel. Ca. 1490
Master Of The Luna Family

The artist of this panel is traditionally referred to as the Master of the Luna Family, whom Post first identified in 1933 as one of the two painters who produced the altarpiece for the chapel of Saint James the Apostle in Toledo Cathedral, founded by Don Álvaro de Luna. It was the latter`s daughter, María de Luna, Duchess of El Infantado, who contracted the altarpiece on 21 December

Jesus in the House of Annas
Oil on canvas. 1803
Madrazo y Agudo, José de
Jesus in the House of Annas
Oil on canvas. 1803
Madrazo y Agudo, José de

This religious scene with its life-size figures, is treated in the sober manner usually applied to scenes from Roman history. It was the first major painting produced by Madrazo whilst training in Paris under Jacques-Louis David, and earned him an increase in his grant from Charles IV, enabling him to continue his studies in Rome.

Woman from Madrid
Oil on canvas. Ca. 1913
Zuloaga y Zabaleta, Ignacio
Woman from Madrid
Oil on canvas. Ca. 1913
Zuloaga y Zabaleta, Ignacio

Dressed for attending the bullfight, with a white mantilla and hair comb and holding a large fan, the subject looks defiantly at the viewer. The expressivity of the face and intensity of the gaze make this female portrait one of Zuloaga’s finest works from this period.

Olympus or The Triumph of Venus
Oil on canvas. 1761 - 1764
Tiepolo, Giovanni Battista
Olympus or The Triumph of Venus
Oil on canvas. 1761 - 1764
Tiepolo, Giovanni Battista

This is a sketch for a no-longer extant painting on canvas intended to decorate a ceiling in a building of the imperial court of Russia, whose memory is preserved in an engraving made by Giambattista´s youngest son Lorenzo. The engraving forms a set with another three, two of which were also made by Lorenzo, on the basis of original works by his father, as part of the same commission. The en

Ferdinand VII on horseback
Oil on canvas. 1821
Madrazo y Agudo, José de
Ferdinand VII on horseback
Oil on canvas. 1821
Madrazo y Agudo, José de

For many years the large-scale definitive version was the only painting of Ferdinand displayed to the public in the museum he had founded. He is shown as commander-in-chief of the Spanish armed forces beside an oak tree that refers to the virtues of the good ruler.

The Meadow of San Isidro
Oil on canvas. 1785
Castillo, José del
The Meadow of San Isidro
Oil on canvas. 1785
Castillo, José del

This work is a preparatory sketch for a tapestry of extraordinary dimensions -nearly eight metres in length and over three metres tall- intended for the bedchamber of the Prince and Princess of Asturias in the royal palace of El Pardo. José del Castillo, a student of Corrado Giaquinto in Rome and Madrid, joined the group of painters working for the Royal Tapestry Manufactory in 1765 on the

Witches' Flight
Oil on canvas. Ca. 1798
Goya y Lucientes, Francisco de
Witches' Flight
Oil on canvas. Ca. 1798
Goya y Lucientes, Francisco de

Three bare-chested characters wearing dunce caps hold a fourth, nude character in the air while another lies on the floor, covering his ears, A sixth figure flees, his head covered with a white cloth. With his hand, he makes the gesture intended to protect him from the evil eye. At the right of the scene, a donkey stands out against the neutral background. This was one of six canvases Goya sold to

The Crucifixion
Oil on canvas. 1635 - 1665
Cano, Alonso
The Crucifixion
Oil on canvas. 1635 - 1665
Cano, Alonso

The crucifix is probably the most characteristic image in Christian iconography, and it was certainly one of the most widely depicted and owned in the Spain of the Habsburg monarchs. Sculptures or paintings of Christ on the cross, in their many different forms, were used for private devotion in laypeople’s houses and were displayed in nearly all churches and chapels of the time. Subjects related t

Garden Scene with Dog
Oil on canvas. 1660 - 1670
Hiepes, Tomás
Garden Scene with Dog
Oil on canvas. 1660 - 1670
Hiepes, Tomás

Painted around 1660-1670, during the transition between the reigns of Philip IV (1621-1665) and Charles II (1665-1700), this painting clearly conveys the characteristics of Valencian still lifes from the second half of the Siglo de Oro. Its agreeable, decorative and jovial play of elements captures the joy of a Mediterranean garden. At the same time, it is an accomplished example of the repertoire

The Crucifixion
Oil on canvas. 1670 - 1672
Murillo, Bartolomé Esteban
The Crucifixion
Oil on canvas. 1670 - 1672
Murillo, Bartolomé Esteban

Giuseppe Maria Ferdinando Dal Pozzo
Oil on canvas. 1810
Aparicio e Inglada, José
Giuseppe Maria Ferdinando Dal Pozzo
Oil on canvas. 1810
Aparicio e Inglada, José

This portrait is one of the artist’s finest works and reveals his proximity to international Neo-classicism. The Grand Cross of the Order of the Reunion worn by the sitter and the red robe that identifies him as president of the Court of Appeal indicate both the status of this judge and the reputation achieved by Aparicio in Napoleonic Rome.

Allegory of Dusk
Oil on canvas. 1819
Madrazo y Agudo, José de
Allegory of Dusk
Oil on canvas. 1819
Madrazo y Agudo, José de

The allegories, The Hours of the Day, were painted in 1819 by José de Madrazo in Rome just before his return to Spain, to be used in the decoration of the small palace in Madrid known as Casino de la Reina. This country holding, considered one of “the most prized curiosities of Madrid”, was acquired in 1816 by the city government of Madrid as a gift for Queen María Isabel of Braganza

Saint James the Pilgrim
Oil on panel. 1496 - 1497
Flandes, Juan de
Saint James the Pilgrim
Oil on panel. 1496 - 1497
Flandes, Juan de

Saint James the Elder is depicted as a pilgrim, with his customary crozier or staff, although here it lacks the customary calabash for water. He wears a cape and a hat with the scallop shell that symbolizes the pilgrimage to Compostela, just as the Greek cross and palm did for pilgrims to Jerusalem and the double key and Speedwell for those headed to Rome. While the origin of the scallop shell rem

Saint John the Baptist and Saint John the Evangelist
Oil on canvas. 1600 - 1610
el Greco (Domenikos Theotokopoulos) (And Workshop)
Saint John the Baptist and Saint John the Evangelist
Oil on canvas. 1600 - 1610
el Greco (Domenikos Theotokopoulos) (And Workshop)

Amidst a rocky landscape and under the threat of a stormy sky, Saint John the Evangelist and Saint John the Baptist are depicted in the foreground and as though they were in dialogue. Each appears with the garb and attributes of his own traditional iconography: the Evangelist is a callow youth wearing a blue tunic and a large pinkish cloak and blessing the chalice from which a little dragon emerge

Charity
Oil on panel. 1550 - 1560
Portelli, Carlo
Charity
Oil on panel. 1550 - 1560
Portelli, Carlo

This Charity, one of the most important works by the Tuscan painter Portelli, derives from a work on the same subject by Francesco Salviati (1510-1563) now in the Uffizi, Florence, emulating its composition, brilliant colours and detailed finish. It was acquired by Charles IV.

Allegory of Noon
Oil on canvas. 1819
Madrazo y Agudo, José de
Allegory of Noon
Oil on canvas. 1819
Madrazo y Agudo, José de

The allegories, The Hours of the Day, were painted in 1819 by José de Madrazo in Rome just before his return to Spain, to be used in the decoration of the small palace in Madrid known as Casino de la Reina. This country holding, considered one of “the most prized curiosities of Madrid”, was acquired in 1816 by the city government of Madrid as a gift for Queen María Isabel of Braganza

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