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The Immaculate Conception
Oil on canvas. Ca. 1645
Castillo Saavedra, Antonio del
The Immaculate Conception
Oil on canvas. Ca. 1645
Castillo Saavedra, Antonio del

All parts of this extraordinarily meticulous work are related to each other from a formal and iconographic standpoint. The Virgin appears in the foreground, where she occupies a considerable portion of the pictorial surface. This insures her powerful presence, and the painter emphasizes it with a very elaborate frame that fills the image with meaning. There are two clearly differentiated parts, th

The Riva degli Schiavoni in Venice
Oil on canvas. 1873
Rico y Ortega, Martín
The Riva degli Schiavoni in Venice
Oil on canvas. 1873
Rico y Ortega, Martín

Venice was the predominant subject of most of Rico’s paintings, since he spent the summer months there for over thirty years. He was particularly interested in the bustling commercial life of the docks. Despite its apparent realism, this is an adapted view of Venice; Rico has removed the imposing prison building, which prompted the legend of the famous Bridge of Sighs. Legado de

The Painter Aureliano de Beruete
Oil on canvas. 1902
Sorolla y Bastida, Joaquín
The Painter Aureliano de Beruete
Oil on canvas. 1902
Sorolla y Bastida, Joaquín

The Painter Aureliano de Beruete is the most outstanding of all the portraits made by Sorolla. In this work he successfully combined the Velázquez inspiration that was a feature of his oeuvre during that period with direct and rigorous painting from the life and a profound and sensitive interpretation of the sitter’s outstanding personality. Sorolla was especially gifted at portraiture owin

The Finding of Moses
Oil on canvas. 1639 - 1640
Claude (Lorrain, Byname Of Claude Gellée)
The Finding of Moses
Oil on canvas. 1639 - 1640
Claude (Lorrain, Byname Of Claude Gellée)

A broad landscape is the setting for Moses’s rescue from the Nile River by the Egyptian Pharaoh’s daughter and her retinue. In the foreground, a shepherd sleeps, indifferent to the events taking place behind him. The lush landscape, flowing river with a bridge, and the city in the background to the right are artistic license, and the original vegetation is evoked by only one element: the palm tree

Rest on the Flight into Egypt
Oil on panel. 1518 - 1520
Patinir, Joachim
Rest on the Flight into Egypt
Oil on panel. 1518 - 1520
Patinir, Joachim

The Virgin and Child are placed on a hill in the centre of the foreground, isolated from the rest of the figures, as in the Berlin panel (Gemäldegalerie ). The dark forest here begins in the middle ground behind the Virgin, merging with the background landscape to one side of the main figure. The countryside to the right, with the motifs of the farm, the village in the middle ground and the c

View of the Bridge at Martorell
Oil on canvas. 1787
Sánchez, Mariano Ramón
View of the Bridge at Martorell
Oil on canvas. 1787
Sánchez, Mariano Ramón

Trained from childhood at the Academy of San Fernando in Madrid, Mariano Sánchez specialized in landscapes and views. Contemporary documents reveal also a talent for miniatures and portraits, which took him to Lisbon in the service of the King of Portugal. In 1781, King Charles III commissioned him to paint a series of 118 vistas of ports, bays, islands, and arsenals in Spain. In 1803, for

Landscape with Wayfarers, Boy and Dog
Oil on canvas. 1639 - 1641
Swanevelt, Herman Van
Landscape with Wayfarers, Boy and Dog
Oil on canvas. 1639 - 1641
Swanevelt, Herman Van

The painting entered the Museum`s holdings as an original work by Herman van Swanevelt, an attribution that has been maintained by subsequent catalogues. In 1973 Valdivieso identifies it as the landscape described in the inventory of 1701 and maintains the ascription to Van Swanevelt, which is also backed by Burke (1976), Luna (1984), Barghahn (1986), Galera Mendoza (2001) and Steland (forthcoming

Landscape with Hermit bound in Chains
Oil on canvas. 1634 - 1639
Swanevelt, Herman Van
Landscape with Hermit bound in Chains
Oil on canvas. 1634 - 1639
Swanevelt, Herman Van

This painting entered the Museum`s holdings as a copy of a work by Jan Both, described as Saint Francis in Penitence and listed as the companion piece to Landscape with Saint Francis in Meditation. It was later catalogued as an anonymous work of the Germanic schools and from 1910 onwards as an anonymous Flemish work. However, this landscape can be identified with one of the pictures described in t

The Haywain Triptych
Oil on panel. 1512 - 1515
Bosch, Hieronymus
The Haywain Triptych
Oil on panel. 1512 - 1515
Bosch, Hieronymus

Bosch thus shows how man, irrespective of his social class or place of origin, is so possessed by the desire to enjoy and acquire material possessions that he allows himself to be deceived or seduced by the Devil. Thus the artist proposes that we should renounce earthly goods and the delights of the senses in order to avoid eternal damnation. The painting offers an exemplum of a different type to

The Archangel Raphael and Tobias
Oil on canvas. 1639 - 1640
Claude (Lorrain, Byname Of Claude Gellée)
The Archangel Raphael and Tobias
Oil on canvas. 1639 - 1640
Claude (Lorrain, Byname Of Claude Gellée)

This painting shows the moment when, following an angel’s instructions, Tobias pulls out an enormous fish’s heart and entrails to cure his father’s blindness with them (Book of Tobit: VII, 15). The setting is a landscape with a flowing river that runs diagonally behind the figures. Three fifths of the canvas are occupied by the sky, beginning at the top with an intense blue and concluding at the h

View of Toledo
Oil on canvas. 1900 - 1905
Arredondo y Calmache, Ricardo
View of Toledo
Oil on canvas. 1900 - 1905
Arredondo y Calmache, Ricardo

Toledo was one of the cities that attracted the interest of artists and writers, from the romantics to the Generation of 1898. It possessed a rich and varied past, from its pre-Roman origins to its status as the capital of the Visigoths; as the city later renowned for the relatively peaceful cohabitation of Muslims, Jews and Christians during the period of Moorish rule; and, finally, as the imperi

Landscape with Saint Mary of Cervelló
Oil on canvas. Ca. 1637
Claude (Lorrain, Byname Of Claude Gellée)
Landscape with Saint Mary of Cervelló
Oil on canvas. Ca. 1637
Claude (Lorrain, Byname Of Claude Gellée)

The scene is set in a lush wooded clearing that opens into the distance at the center. A brightly lit anchorite in a Mercedarian habit kneels in the foreground, praying in front of a crucifix. The space is enclosed on both sides by trees and boulders but the horizon visible through the center consists of high mountains lit by soft dawn light. Scattered around the landscape are deer and a few build

Dance Alongside a Bridge on the Manzanares Canal
Oil on canvas. 1784
Bayeu y Subías, Ramón
Dance Alongside a Bridge on the Manzanares Canal
Oil on canvas. 1784
Bayeu y Subías, Ramón

A cartoon for the tapestry to be hung in the Prince of Asturias´s quarters at the El Pardo Palace. Two Majos appear at the center of the composition, playing characteristic 18th-century Spanish narrow-wasted popular guitars with five double strings (as indicated by their ten visible tuning pegs). Baroque guitars had five double strings, but around 1760 another pair was added, although both t

View of the Port of Santa María
Oil on canvas. 1781 - 1785
Sánchez, Mariano Ramón
View of the Port of Santa María
Oil on canvas. 1781 - 1785
Sánchez, Mariano Ramón

Trained from childhood at the Academy of San Fernando in Madrid, Mariano Sánchez specialized in landscapes and views. Contemporary documents reveal also a talent for miniatures and portraits, which took him to Lisbon in the service of the King of Portugal. In 1781, King Charles III commissioned him to paint a series of 118 vistas of ports, bays, islands, and arsenals in Spain. In 1803, for

Lady with a Fan
Oil on panel. 1570 - 1573
Sánchez Coello, Alonso
Lady with a Fan
Oil on panel. 1570 - 1573
Sánchez Coello, Alonso

In this half-length portrait, the lady is wearing a dark brown velvet overdress luxuriously ornamented with gold chain-stitched embroidery, slit sleeves, and a high collar open in front in the Flemish style. This is a notable example of Spanish portraiture during the reign of Philip II. To begin with, it is painted on a finegrained reddish tropical wood, mahogany perhaps, a support that was quite

River Ford
Oil on canvas. Ca. 1636
Claude (Lorrain, Byname Of Claude Gellée)
River Ford
Oil on canvas. Ca. 1636
Claude (Lorrain, Byname Of Claude Gellée)

A bridge and river over a sunset in the background divide the landscape in depth. At the center of the foreground, three shepherds, seven head of cattle and two goats are framed by copses of woods on the right and left. Light and Nature are the true protagonists of this composition, giving it a dramatic feeling which Lorraine with replace with an elegant and classical serenity in his later works.

Landscape with River and Boats
Oil on canvas. XVII century
Grimaldi, Giovanni Francesco
Landscape with River and Boats
Oil on canvas. XVII century
Grimaldi, Giovanni Francesco

A panorama whose exquisitely contrasting colors -in the sky and in the dark green trees- reflect a prodigious mastery of light drawn from knowledge of Venetian techniques and Bolognese aesthetic concepts influenced, in turn, by Domenichino’s work in this field. The canvas expresses the spectacular monumentality of a landscape that contrasts the straightforward aspects of everyday rural life on the

Hunt at the Castle of Torgau in Honour of Ferdinand I
Oil on panel. 1545
Cranach The Elder, Lucas
Hunt at the Castle of Torgau in Honour of Ferdinand I
Oil on panel. 1545
Cranach The Elder, Lucas

Among the hunters depicted here are Ferdinand I, King of the Romans, on the left in the foreground, and the Elector of Saxony in the centre. On the other side of the river and holding a crossbow is the Electors wife Sibylla of Cleves. The episode takes place near the castle of Hartenfels in Torgau (Saxony) where the Elector, a supporter of the Reformation, had the first Lutheran church built. Ferd

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