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The 1910 catalogue states that Bredius attributed this painting to Jacop Gerritsz. Cuyp (1594-1652), ascription that was officially accepted by the Museum in 1985. However, neither the typology nor the style correspond to Cuyp`s portraits. Moreover, the oval-shaped panel is characteristic of Amsterdam portraitists. Fred Meijer thus believes that this could be the work of a painter who belonged to
This scene belongs to the type of Italianate landscape which Asselijn cultivated in Holland based on drawings and sketches made from the life during his stay in Rome. Blankert (1965) dates the work to 1648. However, Steland-Stief (1971) believes it to have been painted around 1647, the first year Asselijn is documented in Amsterdam after returning from Italy, on account of the stylistic similarity
Moses Striking Water from the Rock and The Bronze Serpent are related to frescos on the same subjects in the apse of the basilica of Santa Croce in Gerusalemme in Rome. Those decorations commissioned in 1743 by the procurer general of the Cistercians and abbot of Santa Croce, Raimondo Besozzi, were paid by Pope Benedict XIV. As was his custom, Giaquinto painted various versions of the compositions
Throughout the second half of the nineteenth century, Carlos de Haes was the leading landscape artist in Spain, not only because of his continuous activity as a painter in that genre but also because of his role as a teacher, for he held the chair of Landscape Painting in Madrid´s Higher School of Painting, Sculpture and Printmaking (Escuela Superior de Pintura, Escultura y Grabado). There he trai
The father of the race of centaurs, Ixion was punished by madness for murdering his father-in-law. After he was pardoned he attempted to supplant Jupiter in Juno’s bed and was consequently condemned to be turned on a wheel for all eternity. Ribera depicts the wheel being set in motion by a satyr who has chained Ixion to it, allowing the artist to display his mastery of anatomy. The canvas is a pai
According to Ovid (Metamorphosis, book V), in order to avoid her husband Jupiter´s infidelities, the goddess, Juno, converted the nymph, Io, into a lamb and called on Argos, the shepherd, to look after her. Jupiter sent Mercury, the gods´ messenger, to kill Argos and recover the nymph. Rubens depicts Mercury without his traditional attributes. He only carries his sword and the flute with which he
A. E. Pérez Sánchez publicó en 1970 su fotografía y su identificación en los inventarios antiguos de El Escorial (Madrid 1970a). En la actualidad, el formato de la obra aparece alterado en todos sus lados, principalmente por mutilaciones en la parte baja y el lado izquierdo; hasta su reciente restauración presentaba un aspecto muy desvirtuado. Hasta ese momento no se había apreciado la costura en
Moses Striking Water from the Rock and The Bronze Serpent are related to frescos on the same subjects in the apse of the basilica of Santa Croce in Gerusalemme in Rome. Those decorations commissioned in 1743 by the procurer general of the Cistercians and abbot of Santa Croce, Raimondo Besozzi, were paid by Pope Benedict XIV. As was his custom, Giaquinto painted various versions of the compositions
This “architectural capriccio”, a popular genre in the eighteenth century due to its evocative combination of reality and fantasy, depicts an imaginary landscape with the Pyramid of Gaius Cestius in Rome (12BC) surrounded by classical elements and enlivened by figures in Roman dress. The canvas was acquired by Charles IV together with Ruins with Saint Paul preaching (P275) and A Sybil preaching (P
The Palacio del Buen Retiro in Madrid boasted a full set of the Furias -Tantalus (P3784), Tityus (P3941), Ixion (P3785) and Sisyphus (P3942)-, now in the Museo del Prado; some scholars maintain that they were produced in Ribera’s work-shop, while others attribute them to the circle of the young Giordano.
A bearded, grey-haired old man turns his head to the left over a black background. This is similar to another head by the same artist (P01694) and is probably a sketch or model for a larger work, intended to study expressions and posture. This work is from the artist´s youth, as can be seen in the rough texture of the brushstrokes on the face, which link it to other portraits from his first period
These two paintings were first shown in Amsterdam in 1858. On that occasion the sitters were identified as Lambert Witsen and his wife Sara Nuyts owing to the woman`s purported similarity to the portrait of the latter (Amsterdam Historisch Museum, inv. SA 989) dated 1684 and included thus by Jan de Baen (1633-1702) in his work, Portrait of the Regents of the Spinhuis in Amsterdam.Moes (1897-1905)
Francesco Albani was a much favoured pupil of Annibale Carracci. His success was partially due to mythological paintings such as The toilet of Venus (P1) and The judgement of Paris (P2), whose refined and lyrical view of nature helped disseminate the classical ideals of the Carracci`s landscapes. The toilet of Venus, c. 1635-40, is one of many versions Albani made of this subject (the most famous
Although Alexander Adriaenssen cannot be regarded as a “super specialist” in fish still lifes since he also represented fruit, flowers and game, he did paint more images of fish than his Antwerp counterparts. A considerable proportion of the more than two hundred works currently attributed to him are either pure fish pieces or still lifes where he combined fish with other subjects. Born at Antwerp
These two paintings (P7607 and P7608) were first shown in Amsterdam in 1858. On that occasion the sitters were identified as Lambert Witsen and his wife Sara Nuyts owing to the woman`s purported similarity to the portrait of the latter (Amsterdam Historisch Museum, inv. SA 989) dated 1684 and included thus by Jan de Baen (1633-1702) in his work, Portrait of the Regents of the Spinhuis in Amsterdam
La historia de Cadmo y la aparición de Minerva aparece en el libro III de las Metamorfosis (95-114): "(...) Mientras el vencedor calcula el tamaño del enemigo vencido, se oyó de repente una voz; no era posible saber de donde venía, pero se oyó: "¿Por qué miras, hijo de Agénor, la serpiente que has matado? También tú serás serpiente y te mirarán" (...)Deslizándose por el cielo aparece Palas y le or
A bearded, grey-haired old man turns his head to the left over a black background. This is similar to another head by the same artist (P1491) and is probably a sketch or model for a larger work, intended to study expressions and posture.This head reflect a practice widespread among seventeenth-century artists of painting life studies in preparation for the faces of the figures in their religious a
This painting, together with Still life with Fish, Candle, Artichokes, Crabs and Shrimp, also in the Prado (P1621), is very likely identical to a picture first documented when it was in the Spanish royal collection in Madrid in 1666. The infrared image of the painting reveals some underdrawing in the shells, along the contour of the plate (near the signature), in the beaks of some of the birds and
