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The Fall of Icarus
Oil on canvas. 1636 - 1638
Gowy, Jacob Peeter
The Fall of Icarus
Oil on canvas. 1636 - 1638
Gowy, Jacob Peeter

Ícaro, hijo de Dédalo el constructor del laberinto del Minotauro, trató de huir con su padre de la isla de Creta con unas alas creadas por su padre que había pegado a la espalda con cera. Ovidio cuenta su historia en el libro VIII de las Metamorfosis (185-235): "(...) el muchacho empezó a recrearse en su atrevido vuelo, abandonó a su guía y, arrastrado por sus ansias de cielo, remontó el vuelo. La

Father Bernard Praying in the Portes Charterhouse
Oil on canvas. 1632
Carducho, Vicente
Father Bernard Praying in the Portes Charterhouse
Oil on canvas. 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

Juan Martínez Montañés
Oil on canvas. Ca. 1635
Velázquez, Diego Rodríguez de Silva y
Juan Martínez Montañés
Oil on canvas. Ca. 1635
Velázquez, Diego Rodríguez de Silva y

A sculptor is shown modeling (possibly in wax) a head of Philip IV, making this one of the most important 17th-century Spanish portraits of an artist. Besides its impeccable quality, this work is a veritable manifesto on the image art makers wanted to project of themselves. The sculptor looks fixedly at the viewer, making his expression and face (where the Idea resides) more important that his man

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

Pan and Syrinx
Oil on canvas. 1760 - 1765
Boucher, François
Pan and Syrinx
Oil on canvas. 1760 - 1765
Boucher, François

The scene depicts a group of naked young women being surprised by a male who violently thrusts aside the reeds behind which they are concealed, while some cupids retreat in fear. The work illustrates a classical theme taken from Ovid´s Metamorphoses that appears to narrate the culminating moment in the mythical story of the god Pan and Syrinx, a wood nymph of Arcadia, which takes place by th

Armor of Charles Emmanuel I, Duke of Savoy
Conté crayon on laid paper, wove paper. Ca. 1852
Pizarro y Librado, Cecilio
Armor of Charles Emmanuel I, Duke of Savoy
Conté crayon on laid paper, wove paper. Ca. 1852
Pizarro y Librado, Cecilio

El Museo Nacional del Prado adquirió en 2004 un álbum con casi trescientos dibujos de Cecilio Pizarro, relacionados fundamentalmente con su labor como dibujante para xilografía. Este dibujo está realizado sobre papel avitelado, adherido en la mitad izquierda de la página del álbum. En general, los dibujos adheridos a las páginas en blanco del álbum, se consideran diseños previos para el grabado, d

Charles VII of Naples, the future Charles III of Spain
Italian marble. Ca. 1744
Anonymous
Charles VII of Naples, the future Charles III of Spain
Italian marble. Ca. 1744
Anonymous

A medallion portraying the young Charles of Bourbon (1716-1788), recently proclaimed King of Naples and Sicily, who would become King Charles III of Spain in 1759. Shown in profile with a large wig and dressed all’antica, his breastplate bears a head of Medusa, an allusion to the mythological heroes, and the golden fleece, the symbol of the Order of the same name.

Louis XIV on Horseback
Bronze. First quarter of the XVIII century
Girardon, François (Workshop Of)
Louis XIV on Horseback
Bronze. First quarter of the XVIII century
Girardon, François (Workshop Of)

Louis, the Grand Dauphin, was the son of Louis XIV. He is represented “in the Ancient manner”, wearing a breastplate and military robes in keeping with classical models that became fashionable during the Modern Era. The horse, with its serene gait, moves across a pedestal representing a meadow. This work is derived from the equestrian statue of Louis XIV made by François Girardon in 1685. C

Female Bust in an Urn
Glass, Fabric, Wax, Bone, Pelo. Ca. 1750
Scandellari, Filippo (?)
Female Bust in an Urn
Glass, Fabric, Wax, Bone, Pelo. Ca. 1750
Scandellari, Filippo (?)

Free-standing wax sculpture was a particularly important genre in 18th-century Bologna and artists aimed to produce impressively lifelike, almost hyper-realist effects. In order to do so they used real hair, glass balls for the eyes, bone for the teeth and fabric and metal for the clothes and accessories. The frames for this bust and its pair are 18th-century in date although later than the sculpt

Male Bust in an Urn
Glass, Fabric, Wax, Bone, Pelo. Ca. 1750
Scandellari, Filippo (?)
Male Bust in an Urn
Glass, Fabric, Wax, Bone, Pelo. Ca. 1750
Scandellari, Filippo (?)

Wax sculpture allowed for the creation of extremely precise technical details that produced an intense sensation of reality. Scandellari was one of the most important practitioners of this technique in Bologna. This pair might be the two wax portraits recorded as made for a Spanish aristocrat in Madrid.

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