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Reading
Oil on canvas. XVII century
Anonymous
Reading
Oil on canvas. XVII century
Anonymous

The Betrothal of the Virgin
Oil on copperplate. XVII century
Anonymous
The Betrothal of the Virgin
Oil on copperplate. XVII century
Anonymous

Still Life with fish, a candle, artichokes, crab and prawns
Oil on panel. 1611
Peeters, Clara
Still Life with fish, a candle, artichokes, crab and prawns
Oil on panel. 1611
Peeters, Clara

On what appears to be a wooden table or ledge we see boiled crabs and shrimp, several freshwater fish (two carp, a roach, possibly several ide, and a northern pike), a dark glass goblet, a brass candlestick with a partially burnt but flameless candle, a copper strainer with a brass skimmer and two artichokes, and a Rhenish stoneware jug. Reflected on its lid is a self-portrait of the artist with a

Smokers and Drinkers
Oil on panel. 1652
Teniers The Younger, David
Smokers and Drinkers
Oil on panel. 1652
Teniers The Younger, David

Three figures enjoy tobacco in an expressive manner in the foreground while an onlooker leans through the window. Around a table in the background, another group of figures drinks or plays cards. This is an example of scenes inside taverns with smokers, drinkers and players, which Teniers made during the sixteen thirties. He began with figures by his teacher, Adriaen Brouwer (1605/1606-1638), whic

Saint Jerome
Oil on oak panel. 1530 - 1540
Massys, Jan (Workshop Of)
Saint Jerome
Oil on oak panel. 1530 - 1540
Massys, Jan (Workshop Of)

The workshop of Jan Massys (c. 1509-1575) in Amberes produced a number of copies of this image based on a protoype by Quinten Massys, Jan’s father. Notable is the saint’s powerful look, which bestows dignity upon him. In line with new humanist ideas, the Church Father’s appearance of an aged scholar is abandoned, while the reference to the transience of life made through the skull and the depictio

Triptych of the Adoration of the Magi
Oil on panel. 1470 - 1472
Memling, Hans
Triptych of the Adoration of the Magi
Oil on panel. 1470 - 1472
Memling, Hans

Comprising three panels, the Nativity, the Adoration of the Magi and the Presentation in the Temple, this painting is earlier than the triptych on the same subject painted by Memling for Jan Floreins in 1479. It is clearly influenced by Van der Weyden, as are other works by the artist. In this work, the unified space represented in the Nativity and the Adoration of the Magi is noteworthy. It was a

Still Life with a Sparrow Hawk, Fowl, Porcelain and Shells
Oil on panel. 1611
Peeters, Clara
Still Life with a Sparrow Hawk, Fowl, Porcelain and Shells
Oil on panel. 1611
Peeters, Clara

This painting, together with Still life with Fish, Candle, Artichokes, Crabs and Shrimp, also in the Prado (P1621), is very likely identical to a picture first documented when it was in the Spanish royal collection in Madrid in 1666. The infrared image of the painting reveals some underdrawing in the shells, along the contour of the plate (near the signature), in the beaks of some of the birds and

The Burial of the Count of Orgaz
Oil on canvas. 1734
Meléndez, Miguel Jacinto
The Burial of the Count of Orgaz
Oil on canvas. 1734
Meléndez, Miguel Jacinto

The Count of Orgaz died in 1323. According to legend, Saint Augustine and Saint Stephen appeared during his burial in the church of Santo Tomé in Toledo where, supporting the Count by the head and feet respectively, the saints deposited his body in his tomb. Quite different to El Greco´s famous interpretation, the horizontal format allowed Meléndez to present an impressive, theatrica

Old Man reading by Candlelight
Oil on canvas. 1700 - 1706
Schalcken, Godfried
Old Man reading by Candlelight
Oil on canvas. 1700 - 1706
Schalcken, Godfried

The half-length figure of an old man is depicted against a dark background. He looks at the viewer out of the corner of his eye, with his torso turned slightly to the left and his head to the right, as he holds a candle in his right hand to light up a manuscript in his left, of which we can only see the back. Old Man reading by Candlelight is clearly a night scene, a genre in which Schalcken speci

Adoration of the Shepherds
Oil on panel. Ca. 1539
San Leocadio, Felipe Pablo de
Adoration of the Shepherds
Oil on panel. Ca. 1539
San Leocadio, Felipe Pablo de

The present Adoration of the shepherds has been identified with the main part of an altarpiece made for valencian silk maker Jacobo Perpinyà. That altarpiece is topped by a representation of the Incarnation and, according to the contract signed on july 28, 1539, it was supposed to be identical to another painted by silk maker Franci Sanchiz.The Adoration of the shepherds combines paternal e

The Death of the Virgin
Oil on panel. 1546 - 1550
Correa de Vivar, Juan
The Death of the Virgin
Oil on panel. 1546 - 1550
Correa de Vivar, Juan

Surrounded by the apostles, Mary lies on her deathbed. Dressed as a priest, Saint Peter gives her a lit candle, while Saint John and another apostle read the Holy Scriptures beside her. The scene of the Assumption is visible through the open window. Maintaining certain elements of the work of his teacher, Juan de Borgoña, such as the human types and the palette; in this work Correa reveals

The Death of Saint Bruno
Oil on canvas. 1626 - 1628
Carducho, Vicente
The Death of Saint Bruno
Oil on canvas. 1626 - 1628
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

The Viaticum
Oil on canvas. 1840
Alenza, Leonardo
The Viaticum
Oil on canvas. 1840
Alenza, Leonardo

Leonardo Alenza y Nieto was, without doubt, the painter par excellence of romantic costumbrismo from Madrid. (Costumbrismo refers to nineteenth-century genre scenes representing folkloric subjects and local customs.) Alenza is traditionally considered a follower of Goya for the application of his sharp, honest skills of observation to the least favoured social classes in the Spain of his era, at t

Saint Francis Comforted by Angels
Oil on canvas. 1788
Camarón, José
Saint Francis Comforted by Angels
Oil on canvas. 1788
Camarón, José

Saint Jerome in his Study
Oil on panel. Mid-XVIcentury
Jan Van Remmerswale
Saint Jerome in his Study
Oil on panel. Mid-XVIcentury
Jan Van Remmerswale

Later variant of the painting Saint Jerome in his Study (1533, Madrid, Real Academia de Bellas Artes de San Fernando, inv. 611). Its painter, who has been tentatively identified as Jan van Remmerswale, worked with his own patterns developed from Marinus’ compositions, but used a different technique to transfer them onto the panel. In contrast to Marinus, his paintings show a linear underdrawing ex

Saint Francis comforted by an Angel
Oil on canvas. Ca. 1620
Ribalta, Francisco
Saint Francis comforted by an Angel
Oil on canvas. Ca. 1620
Ribalta, Francisco

Toward the end of the 17th century, Saint Francis’s iconography expanded as many of the classical biographic themes were replaced with more complex episodes -especially trance visions- mystical ecstasies that reflected the new Baroque esthetic and offered, in the case of Saint Francis, a new approach to the depiction of a figure whose life was being presented by his Order in terms of biographical

Landuino Dies in Jail
Oil on canvas. 1626 - 1632
Carducho, Vicente
Landuino Dies in Jail
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

Queen Joanna the Mad
Oil on canvas. 1877
Pradilla y Ortiz, Francisco
Queen Joanna the Mad
Oil on canvas. 1877
Pradilla y Ortiz, Francisco

Padilla painted this, his absolute masterpiece, at the age of twenty-nine, and it directly led to his international fame as an artist. It is the most superb visual presentation of a subject with which he was obsessed throughout his life and in its capacity to sum up all of the ingredients of its genre, it may well surpass all other 19th-century history paintings. In effect, the canvas offers the m

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