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The Family of Philip V
Oil on canvas. Ca. 1723
Ranc, Jean
The Family of Philip V
Oil on canvas. Ca. 1723
Ranc, Jean

This is an extremely spontaneous and lively preparatory study for a now lost, larger painting. Seated in an imaginary room in a palace are Philip V and his second wife Isabella Farnese. Around them are their sons, the future monarchs Louis I, Ferdinand VI and Charles III, and Philip, Duke of Parma. In an oval frame is the official portrait, sent from Paris, of María Ana Victoria, betrothed

The Painter's Family
Oil on canvas. 1621 - 1622
Jordaens, Jacques
The Painter's Family
Oil on canvas. 1621 - 1622
Jordaens, Jacques

This attractive group portrait, one of the most interesting of the 17th-century Dutch school on account of its bourgeois spirit with aristocratic leanings, is an extraordinary skilful depiction of the artist´s close family. Jordaens portrays himself with his wife Catharina van Noort and their first child Elizabeth, born on 26 June 1617, whose age allows us to date the work approximately. Cat

The Infanta Catalina Micaela
Oil on canvas. Ca. 1585
Pantoja de la Cruz, Juan (Attributed To)
The Infanta Catalina Micaela
Oil on canvas. Ca. 1585
Pantoja de la Cruz, Juan (Attributed To)

La infanta Catalina Micaela fue la menor de las dos hijas habidas en el matrimonio del rey Felipe II con su tercera esposa, Isabel de Valois. Nació en Madrid en 1567. Junto a su hermana mayor, Isabel Clara Eugenia, ocupó un lugar preferente en los sentimientos del rey, su padre, como denotan sus relaciones epistolares. Como Infanta de España, tenía reservado además un puesto preciso en la política

Segismundo Moret y Quintana
Oil on canvas. 1855
Madrazo y Kuntz, Federico de
Segismundo Moret y Quintana
Oil on canvas. 1855
Madrazo y Kuntz, Federico de

This portrait provides exceptional testimony to Federico de Madrazo´s fully mature style, which made him the greatest Spanish portrait artist of the middle decades of the nineteenth century. Painted at the pinnacle of his career, Madrazo has combined the technical refinement of the French academic portrait -inspired by the work of Jean-Auguste-Dominique Ingres, a friend of his father´s- with the a

The Adoration of the Magi
Oil on canvas. Ca. 1670
Rizi, Francisco
The Adoration of the Magi
Oil on canvas. Ca. 1670
Rizi, Francisco

These two canvases (The Adoration of the Magi, P1129 and The Presentation of Jesus in the Temple, P1130) were part of a small altar piece in the convent of Los Angéles in Madrid, a work that also included The Annunciation (P1128). The present canvases are typical of the mature style of this artist, who made masterly use of a range of warm colours applied with an extremely free brushstroke i

Portrait of a Prince of Lorraine, possibly Charles Alexander
Oil on canvas. Ca. 1715
Gobert, Pierre
Portrait of a Prince of Lorraine, possibly Charles Alexander
Oil on canvas. Ca. 1715
Gobert, Pierre

Pese a su apariencia femenina, se trata de un retrato de varón ataviado con la indumentaria acostumbrada en la corte de Lorena para los niños de hasta cuatro años. Hubo de ser enviado como regalo por los duques de ese territorio a sus parientes españoles, siendo la duquesa Isabel Carlota de Orleans tía de la reina de España María Luisa Gabriela de Saboya. Aunque el parecido con sus hermanos Leopol

Ferdinand of Bourbon and Savoy, Prince of Asturias (later Ferdinand VI of Spain)
Oil on canvas. 1725
Ranc, Jean
Ferdinand of Bourbon and Savoy, Prince of Asturias (later Ferdinand VI of Spain)
Oil on canvas. 1725
Ranc, Jean

One of the artist’s few signed works, Ranc’s depiction of the Prince of Asturias, later Ferdinand VI of Spain, subtly balances the sitter’s youthful grace and the symbolic significance of his role. The description of the fabric of Ferdinand’s clothes is particularly meticulous, creating a striking symphony of colours and textures.

Centaur with cherubs
Pencil, Grey wash, Pencil strokes on white paper. 1759 - 1791
Tiepolo, Giovanni Domenico
Centaur with cherubs
Pencil, Grey wash, Pencil strokes on white paper. 1759 - 1791
Tiepolo, Giovanni Domenico

This drawing is one of a series by Giandomenico Tiepolo dedicated to centaurs, fauns and other mythological creatures. The series is one of the most original creations by Giandomenico, son of Giambattista and brother of Lorenzo, both of whom also have works in Italian Masterpieces from Spain’s Royal Court, Museo del Prado. Numerous drawings from this series have survived in museums and collections

Fragments of a Roman sarcophagus with the Four Seasons
White marble. Ca. 250
Roman Sculptor
Fragments of a Roman sarcophagus with the Four Seasons
White marble. Ca. 250
Roman Sculptor

The cycle of the Four Seasons has a long tradition in figurative art. The personifications of the different periods of the year were accompanied by the element that identified them, all associated with the rural world. As part of a sarcophagus lid, this pair of reliefs makes clear reference to the passing of time.

Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático
Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático

Fragment from an incomplete and fragmented Attic sarcophagus (E00118, E00120 and E00182) dating from around 250 A.D. with an especially interesting because it is the only example of its iconography. The story, which is highly appropriate because of its tragic character, is divided into various scenes. The front shows the armistice celebrated between Aqueans and Trojans to celebrate the marriage of

Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático
Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático

Fragment from an incomplete and fragmented Attic sarcophagus (E00118, E00120 and E00180) dating from around 250 A.D. with an especially interesting because it is the only example of its iconography. The story, which is highly appropriate because of its tragic character, is divided into various scenes. The front shows the armistice celebrated between Aqueans and Trojans to celebrate the marriage of

Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático
Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático

Fragment from an incomplete and fragmented Attic sarcophagus (E00118, E00120, E00180, E00182) dating from around 250 A.D. with an especially interesting because it is the only example of its iconography. The story, which is highly appropriate because of its tragic character, is divided into various scenes. the front shows the armistice celebrated between Aqueans and Trojans to celebrate the marria

Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático
Sarcophagus with the story of Achilles and Polyxena (Fragment)
Afyon-docimium marble. Ca. 250
Taller Neoático

Fragment from an incomplete and fragmented Attic sarcophagus (E00118, E00180 and E00182) dating from around 250 A.D. with an especially interesting because it is the only example of its iconography. The story, which is highly appropriate because of its tragic character, is divided into various scenes. The front shows the armistice celebrated between Aqueans and Trojans to celebrate the marriage of

Fragments of a Roman sarcophagus with the Four Seasons
White marble. Ca. 250
Roman Sculptor
Fragments of a Roman sarcophagus with the Four Seasons
White marble. Ca. 250
Roman Sculptor

The cycle of the Four Seasons has a long tradition in figurative art. The personifications of the different periods of the year were accompanied by the element that identified them, all associated with the rural world. As part of a sarcophagus lid, this pair of reliefs makes clear reference to the passing of time.

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