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The Triumph of Bacchus
Oil on canvas. After 1635
Finoglia, Paolo Domenico
The Triumph of Bacchus
Oil on canvas. After 1635
Finoglia, Paolo Domenico

Paolo Domenico Finoglia was deeply involved in the creation of paintings for the History of Rome cycle at the Buen Retiro Palace. His participation includes this superb Triumph of Bacchus, a Gladiators’ Fight (Patrimonio Nacional, Inv. 10022324) and a painting with a very obscure subject traditionally known as Masinissa Mourning Over the Death of Sophonisba (P2280). This final work was even attrib

Landscape
Oil on panel. Early Segunda mitad del siglo XVII - XVIII century
Bout, Pieter; Boudewijns, Adriaen Fransz
Landscape
Oil on panel. Early Segunda mitad del siglo XVII - XVIII century
Bout, Pieter; Boudewijns, Adriaen Fransz

Las figuras de esta obra, así como las de las obras P1371 a P1379, se atribuyen a Peeter Bout.

Triumph of Love
Oil on copperplate. XVII century
Lint, Pieter Van
Triumph of Love
Oil on copperplate. XVII century
Lint, Pieter Van

Representación alegórica del triunfo del Amor que lleva a Júpiter con los brazos atados en una suntuosa carroza tirada por cuatro caballos blancos. Entre las figuras que acompañan a la carroza, a la derecha de la composición, aparece Apolo portando una cítara como atributo de identificación del dios, y tras él un músico tocando una flauta de Pan.

Path in a Forest
Oil on panel. 1600 - 1625
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
Path in a Forest
Oil on panel. 1600 - 1625
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

Royal Couples
Oil on canvas. 1770
Paret y Alcázar, Luis
Royal Couples
Oil on canvas. 1770
Paret y Alcázar, Luis

This canvas depicts an equestrian event that took place at the Palace of Aranjuez in 1770. It was attended by Charles III and Princess María Luisa, his daughter-in-law, who are to be seen in the second box adjoining the palace façade, and by a crowd of subtly individualised figures. On horseback at the forefront of the pairs of riders are Prince Carlos and the Infantes Gabriel and Lu

Skating Masquerade, or Carnival on Ice at the Kipdorppoort Moats in Antwerp
Oil on panel. Ca. 1620
Alsloot, Denis Van
Skating Masquerade, or Carnival on Ice at the Kipdorppoort Moats in Antwerp
Oil on panel. Ca. 1620
Alsloot, Denis Van

The inhabitants of Antwerp enjoy skating on the frozen water in the moats alongside the city walls. Divided into groups, some disguised and others elegantly dressed, the represent diverse attitudes and stereotypes from the celebration of Carnival. Images of feasts and celebrations in the Low Countries are common in the work of Denis van Alsloot. In his customary manner, he creates a very detailed

Ferdinand VI and Barbara of Braganza in the Gardens of Aranjuez
Oil on canvas. 1756
Battaglioli, Francesco
Ferdinand VI and Barbara of Braganza in the Gardens of Aranjuez
Oil on canvas. 1756
Battaglioli, Francesco

This view of Aranjuez Palace was painted in 1756, on the occasion of the celebration of the saint´s day of King Fernando VI (1713-1759). This work was one of a group of views of the Palace and of the celebrations that took place there. Originally, there were probably four, but only this one and View of Aranjuez Palace (P04180, also in the Prado Museum) remain. The moment depicted here is the passa

Isabel Clara Eugenia in the Site of Breda
Oil on canvas. Ca. 1628
Snayers, Peter
Isabel Clara Eugenia in the Site of Breda
Oil on canvas. Ca. 1628
Snayers, Peter

Representación del sitio de Breda, que tuvo lugar entre el 12 de septiembre de 1624 y el 2 de junio de 1625. En primer plano aparece la visita de la infanta gobernadora al campo de batalla tras la victoria, junto a otros personajes entre los que se encuentra Ambrosio de Spinola.El primer dato documental de esta obra lo da el inventario del Alcázar de 1636: ".... el sitio de Breda, con moldura dora

The Meadow of San Isidro
Oil on unlined canvas. 1788
Goya y Lucientes, Francisco de
The Meadow of San Isidro
Oil on unlined canvas. 1788
Goya y Lucientes, Francisco de

Goya never actually painted the cartoon for this scene, which is one of his masterpieces, and the most popular of a series intended for the bedroom of the infantas in Madrid's El Pardo Palace. The project was suspended following the death of Carlos III. Here, the painter manages to capture the sensation of life and the hustle and bustle of a crowd sitting in the meadow. The landscape opens onto th

Queen María Cristina and her Daughter, Isabel II, reviewing the Artillery Batteries defending Madrid in 1837
Oil on canvas. 1865 - 1866
Fortuny, Mariano
Queen María Cristina and her Daughter, Isabel II, reviewing the Artillery Batteries defending Madrid in 1837
Oil on canvas. 1865 - 1866
Fortuny, Mariano

This canvas was displayed on the ceiling of the Salon Rouge of the Duke and Duchess of Riánsares’ Paris mansion. The decoration of this hall, which was designed to receive visitors, glorified María Cristina’s regency and the legitimacy of her daughter Isabella II, which was opposed by the supporters of Carlos María Isidro de Borbón, rival aspirant to the throne. The wor

View of The Palace of Aranjuez
Oil on canvas. 1756
Battaglioli, Francesco
View of The Palace of Aranjuez
Oil on canvas. 1756
Battaglioli, Francesco

This view of Aranjuez Palace was painted in 1756, on the occasion of the celebration of the saint´s day of King Fernando VI (1713-1759). This work was one of a group of views of the Palace and of the celebrations that took place there. Originally, there were probably four, but only this one and Fernando VI and Bárbara de Braganza in the Gardens of Aranjuez (P04181, also in the Prado Museum)

The Miraculous Spring at Saint Bruno’s Tomb
Oil on canvas. 1626 - 1632
Carducho, Vicente
The Miraculous Spring at Saint Bruno’s Tomb
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

The Marquis of Caracena and his Cortège
Oil on canvas. 1664
Meulen, Adan Frans Van Der
The Marquis of Caracena and his Cortège
Oil on canvas. 1664
Meulen, Adan Frans Van Der

Traditionally thought to depict Louis XIV departing on a military campaign, this canvas in fact represents the cortège of a Spanish governor in Flanders. The principal figure in the carriage is probably Luis de Benavides y Carrillo, Marquis of Caracena (1608-1668). In other versions of his composition Van der Meulen made Louis XIV the protagonist.

The Baptism of Queen candace´s Eunuch
Oil on canvas. 1639 - 1641
Both, Jan
The Baptism of Queen candace´s Eunuch
Oil on canvas. 1639 - 1641
Both, Jan

This painting entered the museum as a work by Claude Lorrain, but in 1843, it appeared in the catalog as an original by Jan Both, an attribution that has been maintained in posterior catalogs and is accepted without argument by specialists.Drawn from Acts (VIII: 26-38), the subject is the conversion and baptism of Queen Candace of Ethiopia by the Apostle Philip the Eunuch, who did so while returni

Exterior of Saint Peter’s, Rome
Oil on canvas. Ca. 1636
Codazzi, Viviano
Exterior of Saint Peter’s, Rome
Oil on canvas. Ca. 1636
Codazzi, Viviano

This painting depicts the façade of Saint Peter’s as it was designed by the architect Carlo Maderno and before the re-modelling undertaken by Gian Lorenzo Bernini, who had the clock tower on the right demolished and added the colonnade that exists today. The ceremony taking place in the foreground remains unidentified. The buildings in this canvas were painted by Codazzi, while Falcone was

The calle de la Reina in Aranjuez
Oil on canvas. XVII century
Martínez del Mazo, Juan Bautista
The calle de la Reina in Aranjuez
Oil on canvas. XVII century
Martínez del Mazo, Juan Bautista

A la izquierda, el agua del Tajo y en su orilla, grupos descansando. Un guarda abre la puerta del paseo, sombreado por grandes árboles. En 1794, la obra se encontraba en la pieza de comer el príncipe, en el Palacio de Aranjuez.

The Meadow of San Isidro
Oil on canvas. 1785
Castillo, José del
The Meadow of San Isidro
Oil on canvas. 1785
Castillo, José del

This work is a preparatory sketch for a tapestry of extraordinary dimensions -nearly eight metres in length and over three metres tall- intended for the bedchamber of the Prince and Princess of Asturias in the royal palace of El Pardo. José del Castillo, a student of Corrado Giaquinto in Rome and Madrid, joined the group of painters working for the Royal Tapestry Manufactory in 1765 on the

The Swing
Oil on canvas. 1779
Goya y Lucientes, Francisco de
The Swing
Oil on canvas. 1779
Goya y Lucientes, Francisco de

This cartoon, the pair to The Washerwomen (P-786), depicts three women and four elegantly dressed children with their dog on a country outing. Goya masterfully utilizes the figures in different planes to establish relations between foreground and background, with the shepherds´ glances answered by the woman whose back is to the viewer. The peaceful everyday country scene thus becomes a repre

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