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Still Life
Oil on panel. XVII century
Coosemans, Alexander
Still Life
Oil on panel. XVII century
Coosemans, Alexander

An Angel comforting Saint Francis
Oil on canvas. Ca. 1788
Cruz Vázquez, Manuel de la
An Angel comforting Saint Francis
Oil on canvas. Ca. 1788
Cruz Vázquez, Manuel de la

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

A Square in Paris
Oil on canvas. 1887
Meifrén Roig, Eliseo
A Square in Paris
Oil on canvas. 1887
Meifrén Roig, Eliseo

This is one of Meifrén’s views of Paris, where he spent various periods from the late 1870s onwards. It depicts a café on the Place de Clichy near Montmartre. It predates the depictions of such subjects by other Catalan artists including Santiago Rusiñol and Ramón Casas, while the truncated, angled position of the table in the foreground reveals the influence of the rec

The Last Supper
Oil on canvas. Ca. 1794
Maella, Mariano Salvador
The Last Supper
Oil on canvas. Ca. 1794
Maella, Mariano Salvador

Preparatory sketch for a work possibly intended for the private chapel of the Infante Don Antonio Pascual in the Royal Palace of Aranjuez. The composition is very similar to the Last Supper in the Royal Palace of Madrid painted by Maella in 1794.

Still Life with Box of Jelly, Bread, Salver with Glass and Cooler
Oil on canvas. 1770
Meléndez, Luis Egidio
Still Life with Box of Jelly, Bread, Salver with Glass and Cooler
Oil on canvas. 1770
Meléndez, Luis Egidio

Meléndez’s works are characterized by his interest in familiar, everyday realities, which he places in the immediate foreground as if seeking direct contact with the viewer. And yet, in the context of this desire to create a repertoire of common foodstuffs and utensils, we occasionally find a more distinguished and decorative object, less popular than its everyday kitchen surroundings. Here

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

The Surgeon, or The Extraction of the Stone of Madness
Oil on panel. 1550 - 1555
Hemessen, Jan Sanders Van
The Surgeon, or The Extraction of the Stone of Madness
Oil on panel. 1550 - 1555
Hemessen, Jan Sanders Van

A surgeon extracts a stone from a patient´s head. The scene takes place in an urban setting, probably a market. An aged helper holds the patient´s head, along with a youth, who prepares the unguents. Meanwhile, another patient grimaces grotesquely while waiting his turn. Hemessen criticizes the defrauding of patients by depicting the doctor with a sarcastic expression that reveals him as an impost

The Picnic
Oil on canvas. 1776
Goya y Lucientes, Francisco de
The Picnic
Oil on canvas. 1776
Goya y Lucientes, Francisco de

This tapestry cartoon represents a popular scene of Majos and Majas on the banks of Madrid´s Manzanares River. The Hermitage of the Virgin of the Port is just visible behind a group of trees on the right. Worthy of mention in this work are the still life in the foreground and the amorous play among the orange-seller and the Majos. The resultant tapestry was intended to hang in the dining roo

July (Leo)
Oil on canvas. S XVI - XVII century
Bassano, Francesco
July (Leo)
Oil on canvas. S XVI - XVII century
Bassano, Francesco

Although there is no extant set of the twelve months of the year painted by Jacopo, it is possible that he invented this series. Certainly, the inventory taken in Bassano del Grappa following his death in 1592 mentions sketches of the twelve months from January to December (two different versions of some, such as May and June), and a further seven of unspecified months. In 1648, Ridolfi referred t

The Calling of Saint Matthew
Oil on canvas. 1661
Pareja, Juan de
The Calling of Saint Matthew
Oil on canvas. 1661
Pareja, Juan de

Christ appears in the tax collector’s office and calls on Matthew to follow him. Matthew, depicted raising his right hand to his breast and with a star above his head, would become one of Christ’s most faithful followers and the author of one of the Gospels. Pareja, Velázquez’s former slave, places considerable emphasis on the setting of this work and also includes himself in the compositio

The Last Supper
Oil on canvas. 1593 - 1594
Carracci, Agostino
The Last Supper
Oil on canvas. 1593 - 1594
Carracci, Agostino

Together with his brother Annibale and his cousin Ludovico, Agostino Carracci founded the so-called Accademia degli Incamminati in Bologna. Its teachings promoted the study of nature and the work of the great Renaissance masters in order to avoid the overly-complex forms of Mannerist painting. While the colouring and handling of this canvas are influenced by Tintoretto, the monumental figures of t

Still Life with Watermelon, Pastries, Bread and Wine
Oil on canvas. 1770
Meléndez, Luis Egidio
Still Life with Watermelon, Pastries, Bread and Wine
Oil on canvas. 1770
Meléndez, Luis Egidio

Luis Meléndez distinguished himself as the greatest bodegón, or still-life, painter in late eighteenth-century Spain. By this time, the popularity of the genre had declined in Spain and was not practiced by any of Meléndez’ contemporaries at court. Even so, Meléndez painted over one hundred bodegones in his lifetime, leading art historians to infer that he took a person

Last Supper
Oil on canvas. Ca. 1586
Bassano, Francesco
Last Supper
Oil on canvas. Ca. 1586
Bassano, Francesco

Although Bettini noted a number of paternal precedents for this painting, it is a personal interpretation by Francesco of the gospel passage. Three versions are known, of which the Prado painting is the last. The first, dated about 1585, was auctioned by Sotheby´s of Florence in 1984, and there is a preparatory drawing of the figures of the elderly man with a bear and the page on the left (V

The Temptations of Saint Anthony the Abbot
Oil on panel. 1647
Teniers The Younger, David
The Temptations of Saint Anthony the Abbot
Oil on panel. 1647
Teniers The Younger, David

Judith and Holofernes
Oil on canvas. Ca. 1577
Tintoretto, Jacopo Robusti (Workshop Of)
Judith and Holofernes
Oil on canvas. Ca. 1577
Tintoretto, Jacopo Robusti (Workshop Of)

Traditionally catalogued as a work from Tintoretto´s youth, the dating of this painting has been moved to the late fifteen-seventies by recent studies. The artist draws on the Bible story (Judith 13, 9-11) but his reading of the subject is not erotic. Here, Judith wears her finest clothing to seduce Holofernes, rather than appearing nude, as was habitual in Italian Renaissance art. The action take

Drunken Silenus
Oil on canvas. 1630 - 1635
Fracanzano, Cesare
Drunken Silenus
Oil on canvas. 1630 - 1635
Fracanzano, Cesare

A satyr fills the wineglass of a fat, grotesque Silenus who smiles at another satyr seen from behind. This comic treatment of the classical myth derives from Ribera with whom Fracanzano worked from around 1630. Farina (2017) has related the figure of the satyr, who squeezes the grapes into the Silenus glass, with a drawing by the same author in a private New York collection.The canvas was in the c

Vanitas
Oil on canvas. 1640 - 1645
Linard, Jacques
Vanitas
Oil on canvas. 1640 - 1645
Linard, Jacques

Linard offers a concentrated reflection on the transience of life, symbolised by the skull and carnation. One of the leading still-life painters in France in the first half of the seventeenth century, Linard worked for Cardinal Richelieu and for Louis XIII, becoming Painter to the King.

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