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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. [+]
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 [+]
Esta obra, junto con El hijo pródigo recoge su legítima (P997), La disipación del hijo pródigo (P999) y El hijo pródigo abandonado (P1000), son los cuatro únicos bocetos conocidos de una serie integra [+]
These are the four surviving preparatory sketches for a series of six canvases now in the National Gallery in Dublin, based on the parable of the Prodigal son (Lc 15). They are partly based on prints [+]
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, us [+]
Esta obra, junto con El hijo pródigo recoge su legítima (P997), La despedida del hijo pródigo (P998) y El hijo pródigo abandonado (P1000), son los cuatro únicos bocetos conocidos de una serie integrad [+]
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 ima [+]
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 se [+]
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 1 [+]
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 soldie [+]
Until very recently there was total confusion as to the origin of this painting and the circumstances surrounding its entry into the Royal Collection. Its original owner was formerly thought to have b [+]
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 Pous [+]
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 [+]
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 ilumina [+]
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 [+]
Esta obra, junto con El hijo pródigo recoge su legítima (P997), La despedida del hijo pródigo (P998) y La disipación del hijo pródigo (P999), son los cuatro únicos bocetos conocidos de una serie integ [+]
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 Marchion [+]
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 se [+]
