Loading...
Various gentlemen in Carlos IV-style clothing gather in front of the palace of the Marquis of Dos Aguas in Valencia. They are accompanied by a pack of dogs and various lackeys. Domingo´s technique is based on short, schematic brushstrokes that shape the figures, bringing great luminosity and colorist expressivity to the overall composition. This type of small, lively works was especially popular w
These works (P944 and P7948) embody a more decorous variation of the breastfeeding Madonna, a reference to the succour afforded by the Virgin to all believers. Morales designed a composition which avoids both the representation of Mary’s nude breast and explicit lactation. With both hands, Mary holds a Child who seeks maternal consolation, lifting the veil with one hand and touching the modestly c
These works (P7948 and P944) embody a more decorous variation of the breastfeeding Madonna, a reference to the succour afforded by the Virgin to all believers. Morales designed a composition which avoids both the representation of Mary’s nude breast and explicit lactation. With both hands, Mary holds a Child who seeks maternal consolation, lifting the veil with one hand and touching the modestly c
Alonso Sánchez Coello was court painter to Philip II and he united two different pictorial styles developed in the mid sixteenth century by Titian and Anthonis Mor respectively. Sánchez Coello´s images are austere in their presentation, yet they include certain symbolic elements that place the sitters in a suitable context easily legible to the viewer. The sitters´ dress and certain
Este oratorio portátil es una pieza excepcional que aúna dos delicados trabajos de Damián Forment y Juan de Juanes, figuras fundamentales del Renacimiento en la Corona de Aragón. La representación central del conjunto es la placa de alabastro donde aparece san Jerónimo en su retiro penitencial en el desierto, aunque convertido éste en ámbito rocoso significado por el árbol del primer término en do
This exceptionally fine sculpture is almost identical to the Virgin of the Choir from the Charterhouse of Miraflores (Burgos). The Virgin enthroned and crowned as Queen of Heaven appears as the new Eve, active in man’s redemption after the original sin of Adam and Eve, who are depicted on the arms of the throne. Gil de Siloé was the principal sculptor at the court of Queen Isabel la Cat&oac
This expressive head is executed with great technical virtuosity. Typologically, it can be related to the Pseudo-Seneca which derives from a classical Roman bust traditionally thought to depict this Stoic philosopher. The pedestal is original while the reference in its inscription to Juan Alfonso Enríquez de Cabrera (1594-1647), IX Almirante de Castilla.
This full-length statue of the Emperor Tiberius (42BC to 37AD) is striking in its combination of materials, also found in other works by Cordier such as the Saint Agnes made for the Roman church of that name and incorporating a classical alabaster bust. It is not known how the present work entered the collection of Queen Christina of Sweden, which was begun in the 1650s.
Around 1700, Livio Odescalchi commissioned a statue of Augustus (63 B.C.-4 A.D.) to be paired with another of Tiberio (E00112) acquired with the collection of Christine of Sweden. Its style is more classical and less daring, and follows the ancient esthetic more faithfully. The portrait repeats the famous Primaporta type Augustus. The cream-colored alabaster looks like the marble used by the Roman
The protagonist of this relief is Francesco de’Medici (1541-1587). His is the figure at the right, whom the gods´ messenger, Mercury, leads by the hand, towards a female figure that has been identified as an embodiment of the city of Florence. On the left of the composition are diverse mythological and allegorical figures, including a fluvial personification who probably represents the Arno River.
The piece belongs to a group of four busts of Ethiopians purchased for the Buen Retiro Palace in 1678 by Charles II. Their inspiration comes from models by the French sculptor Nicolas Cordier, the creator of the celebrated and enigmatic Moor (1607-12), a sculpture of alabaster and various coloured marbles made for Scipione Borghese and now preserved at the Musée du Louvre.
The head of this young man with soft features is made of black marble with a highly polished face, while the bust is of white alabaster. Belonging to a production modelled on works by Nicolas Cordier (1567-1612), it comes from the collection of Queen Christina of Sweden, which was later owned and kept by Philip V at the Palace of La Granja de San Ildefonso.
A piece created under the influence of Nicolas Cordier (1567-1612), a French sculptor and restorer resident in Rome who specialised in combining alabaster and marbles of various colours, and is considered the first modern sculptor to handle this type of subject. The bust, together with another three preserved at the Museo del Prado, was acquired by Charles II for the Buen Retiro Palace.
This life-size bust of Felipe II (1527-1598) has a breastplate, a gorget and a cord with the Golden Fleece as its only ornamental elements. The lower part ends in a winged figurehead. The polished surface and the head´s details raise doubts as to which member of the Leoni family made this work, and some consideration has been given to the possibility that it was made by a marble cutter´s workshop
Wall clock of the type called "bull´s eye". It has an alabaster dial with white enamel cartridges and blue Roman numerals, and perforated metal hands. It is decorated with mother-of-pearl inlays, sandblasting and painted decoration. Folding lid with upper front opening by means of a hinge and socket closure. French model, of Elizabethan tradition, was a very widespread typology throughout Eu
This is rare type of tabletop that combines Roman Mannerist elements such as the border with pre-Baroque ones such as the exuberant floral and foliate motif that fills the centre. This motif replaces the central alabaster oval to be found in other compositions.
Goblet formed by seven pieces of stone, some possibly repurposed, joined by gold adornments, four of which are plain and the remainder enamelled in white with black details. The spherical body is adorned with uneven leaves, enamelled in white, with designs of pointed leaves painted in black and pea beads. The bell-shaped base, with an adornment of black and white leaves, sits on an alabaster disc.
This tabletop has a geometrical decoration with a large central oval framed by two volutes. The border combines ovals and diamonds with floral motifs. A similar type of decoration is to be found on the walls of a number of seventeeth-century Roman chapels.
&imagen=https%3a%2f%2fcontent3.cdnprado.net%2fimagenes%2fDocumentos%2fimgsem%2fb3%2fb3bb%2fb3bbe768-c135-41b5-b251-53087fdbbc82%2f67d3f87e-deb7-4ae8-a6a8-6d79e8bc150e_268.jpg&idobra=b3bbe768-c135-41b5-b251-53087fdbbc82){kind=link}
