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Triumph of Love
Oil on copperplate. XVII century
Lint, Pieter Van
Triumph of Love
Oil on copperplate. XVII century
Lint, Pieter Van

Representación alegórica del triunfo del Amor que lleva a Júpiter con los brazos atados en una suntuosa carroza tirada por cuatro caballos blancos. Entre las figuras que acompañan a la carroza, a la derecha de la composición, aparece Apolo portando una cítara como atributo de identificación del dios, y tras él un músico tocando una flauta de Pan.

Jupiter and the Gods urging Apollo to take back the Reins of his Chariot
Oil on panel. 1594
Cornelisz. Van Haarlem, Cornelis
Jupiter and the Gods urging Apollo to take back the Reins of his Chariot
Oil on panel. 1594
Cornelisz. Van Haarlem, Cornelis

The frieze arrangement of the figures places this work in the painter`s classical phase, which began in 1594, the same year as the date on this painting. In Van Thiel`s view, it could be the picture which the Haarlem City Council acquired from the painter in 1594, and which was presented as a gift to Coenraet Dircksz. de Rechtere in around 1601-08, in gratitude for services rendered between 1574 a

Vault with the Apotheosis of the Spanish Monarchy
Fresco-secco, Fresco painting on wall covering. Ca. 1697
Giordano, Luca
Vault with the Apotheosis of the Spanish Monarchy
Fresco-secco, Fresco painting on wall covering. Ca. 1697
Giordano, Luca

The vault of the former Hall of Ambassadors at the Buen Retiro Palace, constructed alongside the former Royal Quarters of San Jerónimo at the behest of the Count-Duke of Olivares as a royal residence for leisure and for the monarchs’ public and official receptions. In the eastern part of this complex, a small building was erected after the palace itself was completed (1632). It was designed

Olympus. The Battle of the Giants
Oil on canvas. 1767 - 1768
Bayeu, Francisco
Olympus. The Battle of the Giants
Oil on canvas. 1767 - 1768
Bayeu, Francisco

Francisco Bayeu, who came from minor nobility, trained in Zaragoza under José Luzán (who, years later, would also teach Francisco de Goya). However, a decisive change in the young Bayeu´s style came about under the influence of Antonio González Velázquez (1723-93), who visited Zaragoza soon after returning from Italy in 1752, carrying models and drawings by his Italian

Mars with the Signs of Aries and Scorpio
Oil on canvas. XVI century
Facchetti, Pietro
Mars with the Signs of Aries and Scorpio
Oil on canvas. XVI century
Facchetti, Pietro

The helmeted figure of Mars holds a sword in his right hand, and a shield in his left and looks skywards. Behind him, a fragment of the Zodiac bears the signs of Aries and Scorpio. At the top, we see the angel that, according to Dante, presides over every star.This painting and its companions (P306 to P312) are copies of cartoons for the mosaics at the Chigi Chapel in the Roman church of Santa Mar

Allegory of the Birth of the Infante Don Fernando
Oil on canvas. Ca. 1575
Parrasio, Michele
Allegory of the Birth of the Infante Don Fernando
Oil on canvas. Ca. 1575
Parrasio, Michele

This canvas, which the Venetian artist Parrasio sent to Philip II without a prior commission in order to gain the monarch’s favour, celebrates the birth of the heir to the Spanish throne in a mythological-allegorical mode. The Infante Fernando, son of Felipe II, appears as a boy, surrounded by seven ladies —embodiments of the theological and cardinal Virtues. His mother, Ana de Austria, lies on a

Rubens painting ‘The Allegory of Peace’
Oil on canvas. Ca. 1660
Giordano, Luca
Rubens painting ‘The Allegory of Peace’
Oil on canvas. Ca. 1660
Giordano, Luca

In this complex allegory, Mars, the god of war, is rejected by his lover Venus, who symbolises the peace painted by Rubens (1577-1640). On the ground at the lower edge we see objects destroyed by war: political power (the sceptre and orb); commerce or scientific knowledge (the astrolabe and armillary sphere); literature or peace treaties (a rolled-up manuscript) and diferent arts (the mask, the st

Mars
Oil on canvas. Ca. 1638
Velázquez, Diego Rodríguez de Silva y
Mars
Oil on canvas. Ca. 1638
Velázquez, Diego Rodríguez de Silva y

The first documentation of Diego Velazquez´s Mars is from 1701-03, when it appeared in the inventory of paintings at the Torre de la Parada, the royal hunting pavilion on the outskirts of Madrid. The painting is cited along with Velázquez´s Aesop c.1638 (P01206) and Menippus 1639-40 (P01207). The three paintings have similar dimensions, and each are as tall as the Heraclitus, Democritus and

Mars
Black chalk, White chalk on dark toned paper. 1764
Bayeu, Francisco
Mars
Black chalk, White chalk on dark toned paper. 1764
Bayeu, Francisco

Desnudo, marchando hacia la derecha con el escudo en el brazo izquierdo, y en escorzo visto desde abajo. Dibujo preparatorio para la figura correspondiente en la parte inferior izquierda del fresco de la bóveda de la Caída de los Gigantes en el Palacio Real de Madrid (Texto extractado de Arnáez, R.: Catálogo de Dibujos. II. Dibujos Españoles. Siglo XVIII (A-B), Museo del Prado, Madrid, 1975, p. 21

Mars and Apollo / Mars and Apollo, alternative design
Pencil, Grey-brown ink, Wash on paper. 1566 - 1569
Il Bergamasco
Mars and Apollo / Mars and Apollo, alternative design
Pencil, Grey-brown ink, Wash on paper. 1566 - 1569
Il Bergamasco

In ancient mythology, Mars -the god of War- and Apollo -the god of the Sun, who is associated with omniscient powers of reasoning- come together as a result of Apollo´s discovery of the affair between Mars and Venus, the wife of Vulcan. Apollo witnessed their adultery, by dint of seeing and knowing everything that occurred in the world, revealing to Vulcan what had taken place on a visit to

Mars
Black chalk, White chalk on green paper. Before 1769
Bayeu, Francisco
Mars
Black chalk, White chalk on green paper. Before 1769
Bayeu, Francisco

Figura sentada con el brazo izquierdo apoyado en el escudo y la cabeza de perfil. Dibujo preparatorio para la figura correspondiente de la parte inferior derecha del fresco Apoteosis de Hércules del Palacio Real de Madrid (anterior a 1769) (Texto extractado de Arnáez, R.: Catálogo de Dibujos. II. Dibujos Españoles. Siglo XVIII (A-B), Museo del Prado, Madrid, 1975, p. 28).

Venus of Madrid
White marble. Ca. 150
Roman Sculptor
Venus of Madrid
White marble. Ca. 150
Roman Sculptor

This sculpture is a Roman copy of a Hellenistic original dating from the second-first century B.C. Stripped of the baroque additions that distorted it, it is part of a large cycle of Venuses linked by similar postures. The beginning of this type of sculpture would seem to lie in a work by Lysipus or his school known through a Roman copy: the Venus of Capua. In it, the goddess, with a nude torso, l

Venus and Mars
Marble. 1820 - 1830
Canova, Antonio (Circle Of)
Venus and Mars
Marble. 1820 - 1830
Canova, Antonio (Circle Of)

The Marquess of Salamanca sold Venus and Mars by Antonio Canova (1757-1822) to the Museo del Prado in 1881. At the time of acquisition, its attribution had been maintained for decades, but when Pavanello was cataloguing all of Canova’s work in 1976, he considered it a copy. While focusing on Canova’s workshop, Reyero (1996) thought the piece could have been made in the 1820s by someone in Canova’s

Mars
Taille douce: etching and engraving on continuous paper. 1797
Le Villain, Gerard René; Alcántara, Francisco; Calcografía Nacional
Mars
Taille douce: etching and engraving on continuous paper. 1797
Le Villain, Gerard René; Alcántara, Francisco; Calcografía Nacional

This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints

Mars
Taille douce: etching and engraving on laid paper. 1797
Le Villain, Gerard René; Alcántara, Francisco
Mars
Taille douce: etching and engraving on laid paper. 1797
Le Villain, Gerard René; Alcántara, Francisco

This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints

Mars
Taille douce: etching and engraving on laid paper. 1797
Le Villain, Gerard René; Alcántara, Francisco; Calcografía Nacional
Mars
Taille douce: etching and engraving on laid paper. 1797
Le Villain, Gerard René; Alcántara, Francisco; Calcografía Nacional

This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active.The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints o

Mars
Etching on laid paper. 1876
Pineda; Calcografía Nacional; Sociedad de Artistas
Mars
Etching on laid paper. 1876
Pineda; Calcografía Nacional; Sociedad de Artistas

Esta estampa copia la pintura de Velázquez conservada en el Museo del Prado, P01208. Se trata de la estampa número 4 del tercer volumen de la colección El Grabador al Aguafuerte, que se puso a la venta en la primera entrega de 1876. Esta entrega comprendía de la estampa número 1 a la 5. En el Gabinete de dibujos y estampas del Museo del Prado, se conserva completo el tercer volumen de esta serie (

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