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Lady and Girl
Oil on panel. 1567
Cronenburch, Adriaen Van
Lady and Girl
Oil on panel. 1567
Cronenburch, Adriaen Van

These four portraits of women, two double ones and two single ones (P02073, P02074 and P02076) presented standing and down to kneelevel, use the same architectural setting. The series is given visual unity by the use of a central niche and two more, barely visible ones at the sides, separated by masonry pillars and decorated with small lions’ heads in the centre.This use of shared elements is prob

Flowers in a Glass Vase
Oil on canvas. 1668
Arellano, Juan de
Flowers in a Glass Vase
Oil on canvas. 1668
Arellano, Juan de

This artist was a fundamental referent for Spanish still lifes in general and flower paintings in particular. He was that specialty’s consummate master and its leading light at the height of the Siglo de Oro, producing a plethora of works of unquestionable quality in a field already filled with them. He was also the most important artist with this surname, including close relatives and others. His

Jorg Zörer’s Wife (?)
Oil on panel. 1531
Amberger, Christoph
Jorg Zörer’s Wife (?)
Oil on panel. 1531
Amberger, Christoph

This bust portrait is a companion to that of the sitter´s husband (P02183). Shown at somewhat less than half- length, she wears a white, Nordic-style cap and a severely cut dress, and holds a white carnation in her right hand. According to an inscription in the upper part of the work she is twenty-eight. By placing her over a background that simulates a wooden surface, Amberger achieves an e

Vase of Flowers decorated with a Triumphal Chariot seen in Profile
Oil on canvas. 1643
Hiepes, Tomás
Vase of Flowers decorated with a Triumphal Chariot seen in Profile
Oil on canvas. 1643
Hiepes, Tomás

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 his capacity to reflect the infinite aesthetic possibilities offered by the subject matter associated with still lifes. That second work was signed and dated in 1643, which allows us to assign a simi

Bouquet of flowers with blue and white ribbon
Oil on canvas. 1780 - 1785
Paret y Alcázar, Luis
Bouquet of flowers with blue and white ribbon
Oil on canvas. 1780 - 1785
Paret y Alcázar, Luis

These two Bouquets of flowers (P001043 and P001042) perfectly exemplify Paret’s mastery in truthfully and beautifully representing nature, as well as his ability to execute compositions in which the harmony of shapes, colour and light emphasise the pleasure of contemplation. The smooth modelling as well as the detailed and thorough depiction of the different flower species – achieved through the a

Garland of Flowers with a Landscape
Oil on canvas. 1652
Arellano, Juan de
Garland of Flowers with a Landscape
Oil on canvas. 1652
Arellano, Juan de

Flower painting experienced its greatest development in the Netherlands -there were both Flemish and Dutch schools- and in the different regions of Italy. Both Northern and Mediterranean artists produced works that became known throughout Europe -especially in Spain, where they had a decisive influence on local artists. The present painting and its pendant (P2508) magnificently exemplify the depen

The Sense of Smell
Oil on panel. 1617 - 1618
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
The Sense of Smell
Oil on panel. 1617 - 1618
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

This set of paintings on the five senses (Sight, Hearing, Smell, Taste, Touch) was one of the most successful collaborations of Peter Paul Rubens and Jan Brueghel “the Elder”. Rubens placed his figures in the magnificent courtly scenes created by Brueghel as settings for these allegories of the senses, resulting in a series of enormous quality and esthetic appeal. The subject was widely employed i

Garland with the Virgin and Child and two Angels
Oil on copperplate. Ca. 1619
Procaccini, Giulio Cesare; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
Garland with the Virgin and Child and two Angels
Oil on copperplate. Ca. 1619
Procaccini, Giulio Cesare; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

Mary holds the Christ Child in one arm, holding one of his feet with the other. Behind them, two angels look on. One looks at the viewer in a request for silence and reflection upon the image. The scene is framed by an abundant garland of flowers. This work is the result of a collaboration between Jan Brueghel, who made one of his most exuberant floral works, and Giulio Cesare Procaccini. It was p

An Offering to Flora
Oil on canvas. 1627
Hamen y León, Juan Van Der
An Offering to Flora
Oil on canvas. 1627
Hamen y León, Juan Van Der

A lady seated in a garden is handed a basket of roses by a boy. The profusion of flowers around her and the crown on her head, as well as her location in a courtly garden with a statue in the background, identify the painting as an allegory of the goddess, Flora. This work is related to a series of similar compositions made by van der Hamen during the sixteen twenties. Some of these are allegories

Flower Vase and Ceramic Bowl
Oil on canvas. 1663
Camprobín, Pedro de
Flower Vase and Ceramic Bowl
Oil on canvas. 1663
Camprobín, Pedro de

In an effort to make their works beautiful and attractive, painters established a hierarchy in which secondary objects were subordinated to the principle ones to generate a charming and stimulating set of complementary relations. This allowed them to demonstrate their mastery while differentiating certain paintings from others in response to specific clients’ tastes. Competing with themselves to p

The Augsburg Goldsmith Jörg Zörer (?)
Oil on panel. 1531
Amberger, Christoph
The Augsburg Goldsmith Jörg Zörer (?)
Oil on panel. 1531
Amberger, Christoph

Portrayed at less than half-length, the sitter wears a large cap and clothing with a fur collar in the northern style. He holds a carnation in his hands, with a signet ring whose coat of arms consists of a crossed ax and scythe. That coat of arms on his ring confirms that he is a member of the Zörer family, but his identification with the goldsmith, Jorg Zörer, is uncertain. The inscript

Flower Vase and Crystal Vessel
Oil on canvas. 1663
Camprobín, Pedro de
Flower Vase and Crystal Vessel
Oil on canvas. 1663
Camprobín, Pedro de

In an effort to make their works beautiful and attractive, painters established a hierarchy in which secondary objects were subordinated to the principle ones to generate a charming and stimulating set of complementary relations. This allowed them to demonstrate their mastery while differentiating certain paintings from others in response to specific clients’ tastes. Competing with themselves to p

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