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In this portrait, Pedro Benítez sits informally on a chair, resting his left arm on its back while gazing frankly and directly at the viewer with whom he establishes an empathetic relationship. He is dressed in the fashion of the reign of Ferdinand VII, with a marvellous cravat emerging from his vest and a book in his right hand. Beside him, standing, is his daughter María de la Cruz
This is the best-documented painting in the entire History of Rome cycle. It is also one of the works that raises the most questions about aspects as important as its authorship and its subject matter. Giambattista Passeri narrated how Domenichino was contracted by the Count of Monterrey, who became Spain’s Viceroy to Naples in 1634, and how Monterrey protected this painter when he was threatened
Portrayed as an old man in accordance with the conventional method that was faithful to prevailing iconographic precepts, in his right hand the god Saturn clasps a scythe, his inveterate attribute, using it to steady himself. At the same time, with impressive bestial energy, he leans over a boy, into whom he sinks his teeth to devour him, while the defenceless creature attempts to kick himself fre
It is not known when or how these two paintings -Saint John the Baptist and Saint Juan de Ribera (P947)- came to be the property of Luisa Enríquez, but their common provenance has never been seen as an indication of a link with the same group of art works. However, the technical study that was recently carried out on the two panels shows that they are directly and unequivocally related in t
This painting depicts the battle of Fleurus, near Brussels, which pitted troops from the Catholic League commanded by General Gonzalo Fernández de Córdoba against Protestant Union soldiers led by Count Ernst von Mansfeld and Prince Christian of Brunswick. The Catholic League’s victory on August 29, 1622 freed Brussels—governed at that time by Isabel Clara Eugenia—from the threat pose
This work was one of a large group of landscapes commissioned in Rome by agents of Philip IV to decorate the new Buen Retiro Palace in Madrid. Others artists involved included Claude Lorraine and Poussin who was Dughet´s brother-in-law and teacher. Dughet developed a type of idyllic, artificial eighteenth-century art.
The painting entered the Museum as an original by Jan Both, and it is recorded as such in subsequent inventories and catalogues until the edition of 1976. Further, up until 1972 it is described in the Museum publications as the companion piece to Landscape with Carthusian (Saint Bruno?) (P02064) and Landscape with Saint Benedict of Nursia (P02065). In 1959 Blunt identifies it as the landscape desc
The fact that the sitter is facing left, and has a little dog -a symbol of marital faithfulness- on her lap suggests that this portrait is one of a pair; the unidentified pendant would have depicted her husband. Dressed in the Flemish fashion of the 1560s, she occupies almost all vibrantly-lit space. Posed at an angle, her face is turned towards the viewer, at whom she gazes. This kind of bourgeoi
Bartolomé González prolongó los usos del retrato de corte del siglo XVI durante el reinado de Felipe III y Margarita de Austria, aunque a través de una pincelada prieta, un colorido frio y una iluminación potente que le diferencian de la producción de su principal maestro, Juan Pantoja de la Cruz (h. 1553-1608). La reina aparece ricamente vestida con saya de ormesí plateado, bordada de pardo y ade
Bartolomé González continued to make use of the tradition of sixteenth-century court portraiture during the reign of Philip III and Margaret of Austria. However, the tight handling, cool palette and strong lighting distinguish his style from that of the leading court portraitist, Juan Pantoja de la Cruz (c. 1553-1608). Richly dressed, the Queen rests her hand on the head of her dog,
In 1883 Rico received the most significant commissions of his career: two views of Venice for the Marquis of Casa Riera and this panoramic view of Paris for Josefa de Manzanedo e Intentas, II Marchioness of Manzanedo. One of the wealthiest women of her time, she was a very close friend of Ramón de Errazu, who owned a portrait of her by Jean-Louis-Ernest Meissonier (1815-1891). She had also
It is not known when or how these two paintings -Saint Juan de Ribera and Saint John the Baptist (P950)- came to be the property of Luisa Enríquez, but their common provenance has never been seen as an indication of a link with the same group of art works. However, the technical study that was recently carried out on the two panels shows that they are directly and unequivocally related in t
This surprising canvas presents the image of the Virgin of Atocha, just as she was worshipped on her altar at the Dominican convent dedicated to her on the outskirts of Madrid. This type of votive image with luxurious rigid clothing that gives the figure a conical silhouette—hence their popular characterization as “funnel” images—is very characteristic of the 17th century and quite frequently repr
The first Poesie presented to Prince Philip were Danaë (1553, The Wellington Collection) and Venus and Adonis (1554, Museo del Prado, P422), versions of other previous works, but endowed with all the prestige of the commissioning party. In turn, these works became models for numerous replicas (Danaë receiving the Golden Rain, 1560-65, Museo del Prado, P425).Danaë depicts the moment
The island of Saint Christopher (modern-day Saint Kitts) in the Lesser Antilles was invaded by the English and French and recaptured by Spanish forces in 1629. The Spanish expedition was led by Fadrique de Toledo y Osorio, I Marquis of Villanueva de Valdueza and Captain General of the Ocean Fleet. He was accompanied by Fleet General Martín de Vallecilla and Admiral Antonio de Oquendo. After
The Recapture of Bahía de Todos los Santos was commissioned from Maíno towards the end of 1634. The artist was still working on it on 24 March 1635, date on which he received the first 18,600 maravedíes on account, corresponding to an order of payment from the Chief Notary of the Council of Aragon, Jerónimo de Villanueva (died 1653). Maíno completed the painting
After studying the canvas, the pigments, and the technique of this work as well as Diana and Callisto (P00424), we can be sure that they are Spanish copies from the 17th century. This makes them extremely interesting as components of the Madrid style during Carreño and Rizi’s generation. The originals of these paintings, some of the masterpieces by Titian in his final years, belonged to the
In the 19th century, there arises on the part of the Anglican Community the need to execute a church of new plant. Juan de Madrazo prestigious member of the Anglican Church, receives the order of realizing a representative church ca.1880. As Madrazo explains in the same project regarding the program (G4605): It´s spire has 113 feet of elevation, and of land a space occupation of 17,000 square feet
