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Apples, Figs and Plums
Oil on canvas. Second third of the XVII century
Espinosa, Juan de
Apples, Figs and Plums
Oil on canvas. Second third of the XVII century
Espinosa, Juan de

This work and its pendant (P7926) share innumerable characteristics, notwithstanding their clear differences. They reflect a painting style popular at the Spanish court during the first half of the 17th century: small still lifes for specific clients that enjoyed decorating the rooms in their mansions with images from nature presented in a straightforward, untheatrical mannee.These works generally

Plate with Plums and Morello Cherries
Oil on canvas. Ca. 1631
Hamen y León, Juan Van Der
Plate with Plums and Morello Cherries
Oil on canvas. Ca. 1631
Hamen y León, Juan Van Der

Juan van der Hamen y León´s output alternates between compositionally complex still lifes and works that are smaller in size and constructed more simply, such as this canvas. It depicts a pewter, possibly silver, plate holding a small pile of plums (or sloes), and cherries. As is habitual in this type of work, the plate is placed in the close foreground, sitting on the edge of a stone ledge

Basket of Flowers
Oil on canvas. 1668 - 1670
Arellano, Juan de
Basket of Flowers
Oil on canvas. 1668 - 1670
Arellano, Juan de

Resting on a stone base, an openwork wicker basket full of flowers is the subject of this painting. The flowers represent an enormous variety of species, enabling a notably rich range of colours and forms, even when the entire arrangement is structured symmetrically. Among the manifold varieties are lilies, tulips, hydrangeas, roses, anemones and carnations, some of which -like the tulips- would h

Garland of Flowers with a Landscape
Oil on canvas. 1652
Arellano, Juan de
Garland of Flowers with a Landscape
Oil on canvas. 1652
Arellano, Juan de

Flower painting experienced its greatest development in the Netherlands -there were both Flemish and Dutch schools- and in the different regions of Italy. Both Northern and Mediterranean artists produced works that became known throughout Europe -especially in Spain, where they had a decisive influence on local artists. The present painting and its pendant (P2507) magnificently exemplify the depen

Flowers in a Glass Vase
Oil on canvas. 1668
Arellano, Juan de
Flowers in a Glass Vase
Oil on canvas. 1668
Arellano, Juan de

This artist was a fundamental referent for Spanish still lifes in general and flower paintings in particular. He was that specialty’s consummate master and its leading light at the height of the Siglo de Oro, producing a plethora of works of unquestionable quality in a field already filled with them. He was also the most important artist with this surname, including close relatives and others. His

View of Toledo
Oil on canvas. Ca. 1925
Manzano y Arellano, Pablo
View of Toledo
Oil on canvas. Ca. 1925
Manzano y Arellano, Pablo

Vista de Toledo desde la margen izquierda del río Tajo. Al fondo, de izquierda a derecha, el monasterio de San Juan de los Reyes, la muralla medieval y el puente de San Martín. En primer término, un molino hoy desaparecido.

Saint Anne, the Virgin and the Christ Child
Oil on canvas. 1760 - 1770
Ramírez de Arellano, Juan
Saint Anne, the Virgin and the Christ Child
Oil on canvas. 1760 - 1770
Ramírez de Arellano, Juan

This is a preparatory sketch for a larger canvas in the Museo del Romanticismo (Madrid). It depicts the seated Virgin with the Christ Child between her knees. Behind them, Saint Anne looks up to heaven where various angels are to be seen. The canvas reflects the influence of the Spanish painter Pablo Pernicharo (died 1760) and the Italian Corrado Giaquinto (1703-1766), who both taught Ramír

Vase of Flowers
Oil on canvas. 1650 - 1700
Arellano, Juan de
Vase of Flowers
Oil on canvas. 1650 - 1700
Arellano, Juan de

In each of these paintings (P596, P597), the central motif around which the entire composition is organised is a glass flower vase, the base of which rests on a stone surface. The flask-shaped vessel contains water. The specific varieties of flowers vary in the two works, but the similarities in the paintings´ dimensions and in the strategies adopted in the depiction of their subjects -toget

Vases of Flowers
Oil on canvas. 1640 - 1642
Nuzzi, Mario (Mario Dei Fiori)
Vases of Flowers
Oil on canvas. 1640 - 1642
Nuzzi, Mario (Mario Dei Fiori)

These four paintings of flowers and sumptuary objects (P250, P251, P252 and P3239) are part of those sent from Rome to Madrid by Mario Nuzzi and other artists for the decoration of the Buen Retiro Palace. Nuzzi, also known as Mario dei Fiori, studied with his uncle Tommaso Salini, a follower of Caravaggio and one of the first still-life specialists active in Rome after the latter’s death. Nuzzi dr

Florero en un canastillo
Oil on canvas. XVII century
Pérez, Bartolomé
Florero en un canastillo
Oil on canvas. XVII century
Pérez, Bartolomé

The fact that this painting and its pendant (P1058)—both of unknown origin—entered the Museo de la Trinidad in the 19th century suggests they may have belonged to a religious institution in or near Madrid. As Cruzada villaamil’s first catalog indicates, they were originally considered anonymous works from the Valencian school, but a signature discovered on the present canvas when they entered the

Vases and Onions
Oil on canvas. 1640 - 1642
Nuzzi, Mario (Mario Dei Fiori)
Vases and Onions
Oil on canvas. 1640 - 1642
Nuzzi, Mario (Mario Dei Fiori)

These four paintings of flowers and sumptuary objects (P250, P251, P252 and P3239) are part of those sent from Rome to Madrid by Mario Nuzzi and other artists for the decoration of the Buen Retiro Palace. Nuzzi, also known as Mario dei Fiori, studied with his uncle Tommaso Salini, a follower of Caravaggio and one of the first still-life specialists active in Rome after the latter’s death. Nuzzi dr

Vase of Flowers
Oil on canvas. 1660 - 1676
Arellano, Juan de
Vase of Flowers
Oil on canvas. 1660 - 1676
Arellano, Juan de

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

Basket of Flowers
Oil on canvas. Second half of the XVII century
Pérez, Bartolomé
Basket of Flowers
Oil on canvas. Second half of the XVII century
Pérez, Bartolomé

The fact that this painting and its pendant (P5301)—both of unknown origin—entered the Museo de la Trinidad in the 19th century suggests they may have belonged to a religious institution in or near Madrid. As Cruzada villaamil’s first catalog indicates, they were originally considered anonymous works from the Valencian school, but a signature discovered on the present canvas when they entered the

Apples
Oil on canvas. Second third of the XVII century
Espinosa, Juan de
Apples
Oil on canvas. Second third of the XVII century
Espinosa, Juan de

This work and its pendant (P7925) share innumerable characteristics, notwithstanding their clear differences. They reflect a painting style popular at the Spanish court during the first half of the 17th century: small still lifes for specific clients that enjoyed decorating the rooms in their mansions with images from nature presented in a straightforward, untheatrical mannee.These works generally

Basket of Flowers
Oil on canvas. Ca. 1670
Arellano, Juan de
Basket of Flowers
Oil on canvas. Ca. 1670
Arellano, Juan de

Throughout his career, Juan de Arellano executed flower pieces of a horizontal format that represent bouquets in open weave wicker baskets. During the last decade of his career, he painted a number of these works on a large scale that constitute the apogee of his flower pieces of this type. The basket motif also appears in a number of other flower paintings from the period, such as Antonio Ponce´s

Garland of Flowers with a Landscape
Oil on canvas. 1652
Arellano, Juan de
Garland of Flowers with a Landscape
Oil on canvas. 1652
Arellano, Juan de

Flower painting experienced its greatest development in the Netherlands -there were both Flemish and Dutch schools- and in the different regions of Italy. Both Northern and Mediterranean artists produced works that became known throughout Europe -especially in Spain, where they had a decisive influence on local artists. The present painting and its pendant (P2508) magnificently exemplify the depen

Vase of Flowers
Oil on canvas. XVII century
Arellano, Juan de
Vase of Flowers
Oil on canvas. XVII century
Arellano, Juan de

Vase of Flowers
Oil on canvas. 1660 - 1676
Arellano, Juan de
Vase of Flowers
Oil on canvas. 1660 - 1676
Arellano, Juan de

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