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Abundance, personified by Ceres, goddess of fertility and agriculture, sits in front of a thicket of reeds at the edge of a forest. She has adorned her hair with wheat spikes -her attribute- and bears the horn of plenty under her left arm. Earth sits at her feet, offering her one of her fruits, she is personified by Flora, goddess of the earth and also of spring, which explains the flowers in her
Towards the edges of two moulded stone shelves rest two bronze vases with broad decorated bases and slender stems embraced, in one case by a group of tritons (P550) and, in the other by, a group of minute cherubs that support the upper section like dynamic Atlanteans (P549). These bases bear prodigious bouquets that are skilfully arranged with contrasting textures and colours that generate a marve
This canvas with clearly defined characteristics is paired with another work at the Museo del Prado (P7912) whose shared circumstances help us to appreciate Hiepes’s achievements even more -especially his capacity to reflect the infinite aesthetic possibilities offered by the subject matter associated with still lifes. That second work was signed and dated in 1643, which allows us to assign a simi
In contrast to the floral compositions habitual in Baroque painting and in Caffi’s own work, this canvas shows different plants growing directly from the ground with the evident aim of conveying spontaneity. The flowering rose bush and cluster of tulips also contribute to this close-up vision of the natural world, differing from other works by the artist, which depict invented species.
Este cuadro formó parte de una serie de los Cuatro Elementos y está documentado en el inventario de 1794 del Palacio del Buen Retiro. Las pinturas se localizarían en una estancia próxima al Jardín de Verano, donde tenía habitación el conde de Altamira, alcaide del Real Sitio. El Museo del Prado conserva la Alegoría del Aire (P03328) y de la Tierra; la Alegoría del Agua se conserva en la colección
Jan van Kessel era nieto de Jan Brueghel el Viejo y sobrino de Jan Brueghel el Joven y de David Teniers II, de quienes fue discípulo. En esta obra aúna varios de los géneros pictóricos en que destacó. Representa una naturaleza muerta con flores en la que se integran pájaros y roedores, mientras que la composición se abre a la derecha para mostrar, en la lejanía, un paisaje dominado por un palacio
Juan de Arellano specialised in painting pictures of flowers, which brought him great artistic and financial success. Here, he depicts a wicker container with a bouquet of tulips, roses, campanulas and other species. The flowers have been pruned, and while some still retain their freshness, others have begun to wilt and have fallen on the stone pedestal. The artist merges elements of Flemish origi
This flower painting brings to mind works the artist gave to the Prince of Asturias, Charles of Bourbon, in 1788. Shortly before he took the throne as King Charles IV. An early interest in art in general, and painting in particular, led this monarch to amass an excellent collection at his residence near the Monastery of San Lorenzo de El Escorial, and the numerals (360) that appear on this panel c
Towards the edges of two moulded stone shelves rest two bronze vases with broad decorated bases and slender stems embraced, in one case by a group of tritons (P550) and, in the other by, a group of minute cherubs that support the upper section like dynamic Atlanteans (P549). These bases bear prodigious bouquets that are skilfully arranged with contrasting textures and colours that generate a marve
Miguel Parra was one of the most important artists in Valencia during the first half of the nineteenth century. he held leading posts in artistic institutions in that city and añsp in the court, to which he was brought by his brother-in-law, Vicente López. He specialized in large flower paintings with great decorative density derived from local and foreign models from the second half
Depicting the same subject, this canvas and its pair (P7936) were painted by Alabert in Valencia in 1799. They are among the numerous floral compositions of this type produced in the city in the late eighteenth century. Their delicate style, refinement and lightness bring to mind the floral motifs on the printed silks manufactured in Valencia at this period.
This work belongs to a series of six paintings, of which only five have survived (P1056, P1057, P5095, P5099 and P5250). Cruzada Villaamíl (1865) registered the three that he included in his catalog (P1056, P5250 and P5099) among the anonymous paintings from the Valencian school, although he hazarded an attribution to Bartolomé Pérez between question marks. Madrazo’s 1878 cata
In an effort to make their works beautiful and attractive, painters established a hierarchy in which secondary objects were subordinated to the principle ones to generate a charming and stimulating set of complementary relations. This allowed them to demonstrate their mastery while differentiating certain paintings from others in response to specific clients’ tastes. Competing with themselves to p
The goddess Flora is seated on steps or a kind of dais, holding a cornucopia of flowers and distributing blossoms among the women gathered before her. This is a collaborative work between two Neapolitan artists, Luca Giordano -a painter very popular with the Spanish court under Charles II- and Andrea Belvedere. Belvedere is now believed to be responsible for the flowers, the minute and precise bru
An Italian sculptor, probably one of Bernini’s pupils, added a head, hands, trunk and legs to a Roman torso based on an athlete by pupil of Polyclitus (5th century BC), transforming it into a personification of Sleep with half-open eyes and poppies in his hand. Formerly owned by Queen Christina of Sweden, this sculpture is a good example of the fanciful restorations carried out in the Baroque peri
