Loading...
Paolo Domenico Finoglia was deeply involved in the creation of paintings for the History of Rome cycle at the Buen Retiro Palace. His participation includes this superb Triumph of Bacchus, a Gladiators’ Fight (Patrimonio Nacional, Inv. 10022324) and a painting with a very obscure subject traditionally known as Masinissa Mourning Over the Death of Sophonisba (P2280). This final work was even attrib
A domestic scene set in classical antiquity. An old man and a youth recline on divans while an attractive young woman plays music on a double flute. Both the clothing and the setting suggest the Greek world, and the motives and clothing are rigorously faithful to archeological discoveries made in the mid nineteenth century. Despite being Dutch by birth, Sir Lawrence Alma cultivated an eclectic per
While it is first listed in 1666 at the Alcázar, where it hung alongside Ribera’s Fable of Bacchus or Teoxenia (of which only three fragments have survived: two at the Museo del Prado and one in a private collection), this work’s subject and dimensions suggest it may originally have been commissioned for the Buen Retiro Palace. Along with Finoglia’s Triumph of Bacchus (P7309), Poussin’s Sac
Various personages, semi-nude or wearing tunics, dance, drink, eat grapes, play instruments and enjoy themselves in a garden around a bust of Bacchus. Various popular and classical buildings are visible in the background. This work shows all of the influences present in Houasse´s painting. The academicist tendency of the figures is mixed with hints of Poussin, Titian and Watteau. Moreover, some fa
This watercolor offers a profile view -similar to a low relief- of a child or young faun sitting on a fragment of an Ionic entablature with egg-and-dart decorations above an astragal. The slender, nude child recalls the Italian boys who worked as models in academies and were depicted by European painters and sculptors. At the academies where he studied, Fortuny had drawn numerous nude boys, some p
The static figure of Dionysus appears in the midst of the uncontrolled dance of his entourage, leaning on a small satyr, his servant. The relief highlights the contrast between his thoughtful posture and the enthusiasm of the satyr-flautist, and also between the soft body of the god and the muscles of the satyr. The other Maenads and satyrs who complemented the frieze of this decorative krater are
This marble statue and other seven more (E000068, E000041, E000040, E000062, E000061, E000038, E000069) were unearthed in about 1500 in Hadrian´s Villa at Tivoli, where the decorated the stage of the Academy Theatre or Odeon. They were made at the end of the reign of Emperor Hadrian (c. 130 AD), by two Roman worshops, reproducing Greek models from the second century BC. In about 1670, they were ac
