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The Sciences and the Arts
Oil on panel. Ca. 1650
Stalbent, Adriaen Van
The Sciences and the Arts
Oil on panel. Ca. 1650
Stalbent, Adriaen Van

A group of scholars discuss various questions in a room. Some are sitting around tables while others contemplate some of the many paintings and art objects scattered around the room. Depictions of dilettantes or aficionados in collectors´ galleries or rooms ornamented with art objects constituted a customary genre among seventeenth-century Flemish painters, glorifying the practice of collecting as

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

This set of paintings on the five senses 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 in Flemish painting. Sight was consider

Sight and Smell
Oil on canvas. Ca. 1620
Francken II, Frans; Balen, Hendrick Van; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
Sight and Smell
Oil on canvas. Ca. 1620
Francken II, Frans; Balen, Hendrick Van; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

This canvas and its companion, Taste, Hearing and Touch (P1404), represent the five senses embodied by female figures in palatial interiors. The sense of smell is conveyed by a woman holding flowers, while Sight contemplates herself in a mirror held by a cherub. They are located in a hall filled with paintings and sculptures, a sort of cabinet of paintings that could reflect an idealized represent

The seven Liberal Arts
Tempera on panel. Ca. 1435
Ponte, Giovanni Dal
The seven Liberal Arts
Tempera on panel. Ca. 1435
Ponte, Giovanni Dal

This decoration of the front of a chest depicts the seven Liberal Arts, accompanied by an equal number of figures that represent the most relevant personages in each discipline. All are being crowned with laurel wreaths by small angels. Astronomy presides over the composition, carrying the heavenly sphere, with Ptolomy (first and second centuries A.D.) sitting at his feet and reading one of the th

Allegory of Astronomy
Oil on canvas. Ca. 1775
Castillo, José del
Allegory of Astronomy
Oil on canvas. Ca. 1775
Castillo, José del

This canvas, like P7349, is one of a group of six preparatory designs for the tapestries made for the private room of the Princess of Asturias in the Royal Palace. In each canvas a putto holds symbols referring to the work’s allegorical subject, in this case Astronomy’s armillary sphere and compasses. Based on Renaissance ornamentation, the delicacy and colour as well as the floral and bird motifs

Democritus
Oil on canvas. 1630
Ribera, Jusepe de, lo Spagnoletto
Democritus
Oil on canvas. 1630
Ribera, Jusepe de, lo Spagnoletto

The painting is one of the most celebrated of Jusepe de Ribera´s so-called ragged philosophers. Although born in Spain, the artist spent his entire professional life in Italy. He appears to have been largely responsible for the invention of the subject in the mid 1610s, and it enjoyed great success in Italy over the course of the seventeenth century in the hands of artists such as Salvator R

Allegory of the Arts
Pencil on brown paper. XVIII century
Anonymous
Allegory of the Arts
Pencil on brown paper. XVIII century
Anonymous

En el centro, en pie, la Pintura; a la derecha, sentada de perfil, con el compás y la escuadra, la Arquitectura; al fondo, la Escultura.Es apunte que enlaza con el estilo de Novelli, en el trazado de la pluma en rayas zigzagueantes o paralelas que hacen reconocibles sus dibujos. La composición cuidadosamente enmarcada a tinta, es quizá para frontispicio de un libro, pero la sequedad y debilidad de

Might not the pupil know more?
Red chalk on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de
Might not the pupil know more?
Red chalk on wove paper, silk paper. Ca. 1797
Goya y Lucientes, Francisco de

The donkey is symbolic of ignorance. Goya here denounces miseducation through his criticism of a teaching system predicated on the incompetence of the teachers and the ineptitude of the students. The teacher shows the young asses an image with a compass and a ruler, which in the print has been made into an alphabet showing the letter A several times, which when read aloud would sound like a donkey

Monk drawing with a compass
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Monk drawing with a compass
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

This drawing has rarely been exhibited and studied, but it is, nevertheless, one of the most beautiful due to its monumental and synthetic feel. Using only sharp crayon strokes, Goya defines the contours of the figure the friar, nestled in an indeterminate space while drawing with a compass. His face shows a degree of concentration perhaps excessive for the task he is performing. A smooth shading

The Mathematical Sciences
Marble. 1753 - 1759
Helgueros, Andrés de los
The Mathematical Sciences
Marble. 1753 - 1759
Helgueros, Andrés de los

In the centre is a symbolic representation of Mathematics based on Cesare Ripa’s Iconology (1593). Holding a globe in one hand, with the other she uses a compass on a tablet held up by a boy. The flanking figures may be celebrated Greek mathematicians such as Euclid, Pythagoras and Archimedes.Within the sculptural programme commissioned by Ferdinand VI to decorate the New Royal Palace in Madrid we

Philosophy
Marble. 1753 - 1756
Ortiz, Fernando
Philosophy
Marble. 1753 - 1756
Ortiz, Fernando

The figure of Philosophy, personified by the woman in the centre, holds a sceptre, book and hourglass. Accompanying her are, amongst other figures, the Greek philosopher Theophrastus, considered the father of Botany, and the Roman naturalist Pliny, whose Natural History is an important compilation of contemporary knowledge on Zoology, Botany or Mineralogy. A notable sculptor, this relief earned th

The Practice of the Arts
Taille douce: etching and engraving on laid paper. 1573
Cort, Cornelis
The Practice of the Arts
Taille douce: etching and engraving on laid paper. 1573
Cort, Cornelis

One of the most significant allegorical images of the arts from the end of the Renaissance is this print engraved by Cort after a drawing by Van der Straet, known as Stradanus. The drawing, now at the British Museum, is very detailed and was clearly intended to be engraved. This is clear in the similar size, the reversed composition and the inscription. Dated in 1573, it bears an inscription which

Charles IV, King of Spain
Taille douce: etching and engraving on continuous paper. 1778 - 1788
Calcografía Nacional; Salvador Carmona, Juan Antonio
Charles IV, King of Spain
Taille douce: etching and engraving on continuous paper. 1778 - 1788
Calcografía Nacional; Salvador Carmona, Juan Antonio

Sin firmas de grabador ni dibujante los datos se han tomado del primer estado. La estampa hace pareja con la del retrato de Maria Luisa de Borbón. Se trata de una estampación de principios del siglo XX cuando la lámina ingresó en la Calcografía. Se conocen cuatro estados. El primero, dentro de un marco el retrato de tres cuartos casi frontal, con el sombrero encima de la mesa; a la derecha del mar

Charles IV, Prince of Asturias
Taille douce: etching and engraving on laid paper. 1778
Salvador Carmona, Juan Antonio; Corradi, Viuda de
Charles IV, Prince of Asturias
Taille douce: etching and engraving on laid paper. 1778
Salvador Carmona, Juan Antonio; Corradi, Viuda de

La estampa de Carlos IV, dibujada y grabada por Juan Antonio Salvador Carmona, hace pareja con la del retrato de Maria Luisa de Borbón (G01709 y G02527). Estampada entre 1778 y 1788 fecha en la que sube al trono. Se conocen cuatro estados. El primero, dentro de un marco el retrato de tres cuartos casi frontal, con el sombrero encima de la mesa; a la derecha del marco objetos alegóricos de las arte

Carlos IV, Prince of Asturias
Taille douce: etching and engraving on laid paper. 1778
Salvador Carmona, Juan Antonio; Corradi, Viuda de
Carlos IV, Prince of Asturias
Taille douce: etching and engraving on laid paper. 1778
Salvador Carmona, Juan Antonio; Corradi, Viuda de

La estampa de Carlos IV, dibujada y grabada por Juan Antonio Salvador Carmona, hace pareja con la del retrato de Maria Luisa de Borbón (G01709 y G02527). Estampada entre 1778 y 1788 fecha en la que sube al trono. Se conocen cuatro estados. El primero, dentro de un marco el retrato de tres cuartos casi frontal, con el sombrero encima de la mesa; a la derecha del marco objetos alegóricos de las arte

Console
Gilt-bronze, Paragone, Lapis lazuli. 1784 - 1786
Real Laboratorio de Piedras Duras del Buen Retiro
Console
Gilt-bronze, Paragone, Lapis lazuli. 1784 - 1786
Real Laboratorio de Piedras Duras del Buen Retiro

This table has the image of a painting of a seascape and its frame, back to front, as well as playing cards, various chips, a ruler, a hammer, a compass and other carpentry tools, two buckles, a key ring and various drawings over a touchstone or black Belgian marble background. The representation of the images is directly based on famous compositions by French painter Joseph Vernet (1714-1789), wh

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