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Still Life with Small Pears, Bread, Flask, Bowl and Dry Leaves
Oil on canvas. 1760
Meléndez, Luis Egidio
Still Life with Small Pears, Bread, Flask, Bowl and Dry Leaves
Oil on canvas. 1760
Meléndez, Luis Egidio

Sobre una tosca mesa de madera, descrita táctilmente con los pequeños detalles de la calidad del material, visibles en nudos y muescas, aparecen desordenadamente situadas unas cuantas “peritas de San Juan” y un pan en segundo término, junto al cual se eleva una alcarraza de loza muy blanca que bien pudiera ser andaluza. Se denomina popularmente “jarra de cuatro picos” y muestra una decoración de i

Saint Gregory
Mixed method on panel. Ca. 1500
Nalda, Juan de
Saint Gregory
Mixed method on panel. Ca. 1500
Nalda, Juan de

The painter, of Riojan origin, completed his artistic formation with Jean Changenet in Avignon (doc. 1493). When he returned to Castile he worked in Palencia and Burgos. The simplification of volumes in his work and the importance given to light show the influence of Provencal art. Besides the sculptural image of the bishop and saint, there is a striking contrast between the realist design of the

Saint Bruno Refuses the Archbishopric of Reggio Calabria
Oil on canvas. 1626 - 1632
Carducho, Vicente
Saint Bruno Refuses the Archbishopric of Reggio Calabria
Oil on canvas. 1626 - 1632
Carducho, Vicente

On August 29, 1626, King Philip IV’s painter, Vicente Carducho (ca. 1576-1638), signed a contract for the creation of a cycle of paintings to celebrate the founding of the Carthusian Order by Saint Bruno and its leading members. This colossal undertaking sought to visually narrate numerous episodes from the Carthusians’ history and tradition. It was the most complete commission ever dedicated to t

Still Life with Cucumbers, Tomatoes and Vessels
Oil on canvas. 1774
Meléndez, Luis Egidio
Still Life with Cucumbers, Tomatoes and Vessels
Oil on canvas. 1774
Meléndez, Luis Egidio

El autor ha procurado conjugar los componentes más característicos de una sencilla ensalada, aprovechando al tiempo el asunto para mostrar junto a los pepinos y tomates -contrastados merced a su diversidad de tonalidades-,un lebrillo de Alcorcón tapado con un plato que sin duda pertenece al grupo que figura en torre a su lado, todos de Puente del Arzobispo; se añaden una vinagrera, una alcuza y un

The Last Supper
Oil on panel. 1555 - 1562
Juanes, Juan de (Vicente Juan Masip)
The Last Supper
Oil on panel. 1555 - 1562
Juanes, Juan de (Vicente Juan Masip)

Painted for the base of the main altarpiece of San Esteban in Valencia (P00838, P00839, P00840, P00841 and P00842), Inspired by Leonardo, both in the definition of the space and in the eloquent expressiveness of the apostles, it also shows Juanes’s close relationship with Raphael. In keeping with traditional iconography in Spain, he focussed the scene on Jesus, serene and triumphant at the moment

Saint Dominic
Oil on panel. 1491 - 1499
Berruguete, Pedro
Saint Dominic
Oil on panel. 1491 - 1499
Berruguete, Pedro

This is the central panel of the Altar piece of Saint Dominic, brought -with three other paintings in the Prado (P609, P610 and P615)- from the Convent of Santo Tomás in Ávila, the headquarters of the Inquisition. As the founder of the Dominican Order, Saint Dominic is shown holding a book and a fleur-de-lis. With his cross, he crushes a demon dog surrounded by flames, a symbol of ev

Christ in Glory with Saints
Oil on canvas. 1660 - 1661
Preti, Mattia
Christ in Glory with Saints
Oil on canvas. 1660 - 1661
Preti, Mattia

A Triumphant Christ appears to a group of saints among whom are Saints Jerome, Francis and Mary Magdalene. It is not known what church this work was painted for, although it is clear that it was meant to be hung at a quite high. Preti was a prolific painter who worked in Rome, Naples and Malta, where he was knighted and where he probably painted this work.

Still Life with Partridges, Onions, Garlic and Vessels
Oil on canvas. Last third of the XVIII century
Meléndez, Luis Egidio
Still Life with Partridges, Onions, Garlic and Vessels
Oil on canvas. Last third of the XVIII century
Meléndez, Luis Egidio

Hunting subjects are rare in Meléndez's work. Here, two multicolored partridges are the composition's main theme. Alongside them, in the foreground, are two cloves of garlic, some paper packages and the onions. In the middle ground, two Alcorcón-style earthenware bowls hold three crockery plates with poppy decorations, probably from Talavera or Puente del Arzobispo. The painter's customary method

The Death of the Virgin
Mixed method on panel transferred to canvas. Ca. 1500
Master Of la Sisla
The Death of the Virgin
Mixed method on panel transferred to canvas. Ca. 1500
Master Of la Sisla

Excepting some variants, such as the window opening onto a landscape or the face of the Virgin, this painting reproduces the composition of an engraving by Martin Schongauer, which accounts for its aesthetic links with productions from the region of Alsace and the Upper Rhine. Like the Master of La Sisla, other painters active in Spain in the late 15th century also drew inspiration from the prints

Saint Ambrose
Oil on canvas. Ca. 1630
Anonymous
Saint Ambrose
Oil on canvas. Ca. 1630
Anonymous

La obra forma parte de una serie de cuatro lienzos que representan a los Padres de la Iglesia occidental, procedente del convento de Nuestra Señora de la Soledad de Madrid. Son copias de un conjunto realizado en Italia con mucha probabilidad durante el breve pontificado de Gregorio XV Ludovisi (1621-1623) cuyos originales, solo en parte localizados, pueden adscribirse a Giovanni Lanfranco (San Amb

Prince Baltasar Carlos on Horseback
Oil on canvas. 1634 - 1635
Velázquez, Diego Rodríguez de Silva y
Prince Baltasar Carlos on Horseback
Oil on canvas. 1634 - 1635
Velázquez, Diego Rodríguez de Silva y

In 1624, soon after Velázquez`s arrival at court, the political writer Almansa noted that the equestrian order was and is the backbone of republics. This notion was shared by the Spanish monarchy and lies at the origins of the enormous prestige which the equestrian portrait achieved at court. As a court portraitist, this sub-genre of portraiture is frequently to be encountered within Vel&aa

Saint Thomas
Oil on panel. 1610 - 1612
Rubens, Peter Paul
Saint Thomas
Oil on panel. 1610 - 1612
Rubens, Peter Paul

This is one of a series of twelve panels (P01646, P01647, P01648, P01649, P01650, P01651, P01652, P01653, P01654, P01655, P01656, P01657) that make up an apostolate that originally included a Savior of the World. The disciples of Christ are represented in the style the painter used around 1612-1613. These are large figures of forceful appearance and considerable plasticity, contrasting with the da

Kitchen Still Life
Oil on canvas. 1651
Anonymous
Kitchen Still Life
Oil on canvas. 1651
Anonymous

This attractive and singular mid-17th-century Spanish still life was originally thought to be by Antonio de Pereda, due to its similarity to two canvases at the Museo de Arte Antiga in Lisbon, which he signed and dated in 1651. However, notwithstanding its approximate resemblance to Pereda’s creations, a convincing attribution has yet to be encountered. Foodstuffs and utensils are scattered in com

Still Life with Breams, Oranges, Garlic, Seasoning and Kitchen Utensils
Oil on canvas. 1772
Meléndez, Luis Egidio
Still Life with Breams, Oranges, Garlic, Seasoning and Kitchen Utensils
Oil on canvas. 1772
Meléndez, Luis Egidio

Two splendid sea breams play the leading role here. They are surrounded by lesser motifs, including oranges, a kitchen towel, a head of garlic, and packet of what is probably spice, two terracotta bowls from Alcorcón, a long-handled pan, a mortar whose pestle leans into the background, and a cruet that participates in this work’s careful study of light as a means of defining volumes, divers

Saint James the Greater
Oil on panel. 1610 - 1612
Rubens, Peter Paul
Saint James the Greater
Oil on panel. 1610 - 1612
Rubens, Peter Paul

This is one of a series of twelve panels (P01646, P01647, P01648, P01649, P01650, P01651, P01652, P01653, P01654, P01655, P01656, P01657) that make up an apostolate that originally included a Savior of the World. The disciples of Christ are represented in the style the painter used around 1612-1613. These are large figures of forceful appearance and considerable plasticity, contrasting with the da

Still Life with Sausages, Ham and Vessels
Oil on canvas. 1772
Meléndez, Luis Egidio
Still Life with Sausages, Ham and Vessels
Oil on canvas. 1772
Meléndez, Luis Egidio

Saint Benedict's Vision of the Globe and the three Angels
Oil on canvas. 1658 - 1660
Cano, Alonso
Saint Benedict's Vision of the Globe and the three Angels
Oil on canvas. 1658 - 1660
Cano, Alonso

A native of the province of Nursia, the holy abbot that founded the Benedictine Order in the sixth century appears inside his cell, where he witnesses the apparition of a globe held by three angels in the presence of the Trinity. This work denotes the Venetian influences which Cano absorbed in court, allowing him to create a canvas characterized by a magnificent use of paint, resolving colors with

The Apparition of the Virgin to Saint Bernard
Oil on canvas. Ca. 1655
Murillo, Bartolomé Esteban
The Apparition of the Virgin to Saint Bernard
Oil on canvas. Ca. 1655
Murillo, Bartolomé Esteban

The Virgin appears miraculously to Saint Bernard to offer him her milk as a reward for his praises and defense. The Saint is surprised while studying and falls to his knees. His desk and bookshelves appear behind him and other books, and an abbot´s staff, lie on the floor. The subject and size of this work suggest that it was probably an altar painting made for a Cistercian convent. Yet, there is

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