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Moses Striking Water from the Rock and The Bronze Serpent are related to frescos on the same subjects in the apse of the basilica of Santa Croce in Gerusalemme in Rome. Those decorations commissioned [+]
As Pieter J. van Thiel suggests, this painting may be a copy made after an engraving by Jan Muller (1590) of Cornelisz. van Haarlem`s original Fortune bestowing her Favours, today at the Musée [+]
This work bears exceptional witness to the concurrence of Fortuny’s painting with that of his close friend, Raimundo de Madrazo. Begun by the former, it was completed after his death by the latter wit [+]
This pair of portraits (P001220 and P001222) combines several aspects of Spanish portraiture of the Baroque period. In principle, the figures of Philip IV and his second wife, Mariana of Austria, are [+]
Charles II stands in the Alcázar Palace’s Hall of Mirrors, alongside a porphyry table held up by two of Mateo Bonuccelli’s gilded bronze lions. The monarch is dressed in black silk, as was cuto [+]
This work and its companion (P6413) belonged to Jean de Croy, Count of Solre and captain of the Flemish Royal Guard of Archers, of which Van der Hamen was a member. Unframed, the two paintings hung in [+]
This dramatic scene from the Old Testament (Numbers 21, 5-9) depicts the moment when Moses saves his people from the snakes sent by God as punishment for their lack of faith. The bronze serpent on a r [+]
A table bears various earthenware vessels, a portable stove, a bronze mortar and two peppers. At its corner, a boy looks out of the painting. A sausage and a rabbit hang from above. The boy and object [+]
This work and its companion (P4158) belonged to Jean de Croy, Count of Solre and captain of the Flemish Royal Guard of Archers, of which Van der Hamen was a member. Unframed, the two paintings hung in [+]
A depiction of the Old Testament passage (Numbers 21, 4-9) in which God orders Moses to make a bronze snake on a stick. Merely looking at it would cure those repentant sinners who had been punished wi [+]
The series of paintings featuring the ‘children in the water’ motif culminates in this work, in which nude boys play a greater part in the composition than in other pictures by Sorolla. While it is si [+]
Towards the edges of two moulded stone shelves (P549, P550) rest two bronze vases with broad decorated bases and slender stems embraced, in one case by a group of tritons (P550) and, in the other by, [+]
This canvas with clearly defined characteristics is paired with another work at the Museo del Prado (P7912) whose shared circumstances help us to appreciate Hiepes’s achievements even more -especially [+]
When Rubens visited the Spanish court in Madrid from late August 1628 until April 1629, he copied many of the numerous paintings by Titian in the royal collection. He was seduced by the radical techni [+]
This pair of portraits (P01220 and P01222) combines several aspects of Spanish portraiture of the Baroque period. In principle, the figures of Philip IV and his second wife, Mariana of Austria, are a [+]
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 res [+]
This still life´s composition and the elements depicted therein make it an excellent example of that genre´s peculiar evolution in the Madrid court during the central decades of the 17th c [+]
Flower painting quickly became a sub-genre of still life painting in which several Spanish artists became specialists. Hiepes was an assiduous proponent throughout his career and he specialized in flo [+]
