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In the Studio
Oil on panel. Ca. 1880
Palmaroli y González, Vicente
In the Studio
Oil on panel. Ca. 1880
Palmaroli y González, Vicente

A young woman seems to gaze dreamily at a canvas on an easel, over which a large cloth has been partially draped, and at a sheaf of prints on a stool. The Japanesestyle clothes, the bright colours and the cluttered scene - highly decorative in effect- clearly point to the influence of Fortuny’s orientalism on Palmorali’s work.

Departure from the Inn
Oil on panel. Ca. 1660
Wouwerman, Philips
Departure from the Inn
Oil on panel. Ca. 1660
Wouwerman, Philips

The picture belongs to a group of scenes set inside a stable which Wouwerman began painting in 1655. This cycle is an exception in the painter`s output, which was mainly focused on outdoor scenes. Most of these stable views are based on the same compositional scheme: two-thirds of the panel is occupied by the dark interior of the stable, which opens out on the left towards a landscape painted in m

Deucalion and Pyrrha
Oil on panel. 1636 - 1637
Rubens, Peter Paul
Deucalion and Pyrrha
Oil on panel. 1636 - 1637
Rubens, Peter Paul

Humanity´s rebirth after the flood is represented in Greek mythology through the story of Deucalion and Pyrrha. After surviving the disaster, they threw stones over their shoulders, each of which became a new being. This story is told by the classical poet, Ovid, in his Metamorphoses. This painting is a sketch by Rubens for a painting —now lost— by Jan Cossiers for the Torre de la Parada. Rubens w

Masinissa Mourning Over the Death of Sophonisba (?)
Oil on canvas. XVII century
Finoglia, Paolo Domenico
Masinissa Mourning Over the Death of Sophonisba (?)
Oil on canvas. XVII century
Finoglia, Paolo Domenico

Within the large series of paintings dedicated to the history of Rome, this work and Meleager’s Hunt (P2320) belong to a small group of scenes from mythology and the history of Antiquity. This is undoubtedly the most mysterious group in the series -so much so, that the subject matter of some of its paintings has yet to be identified today. Moreover, neither the significance of this group as a whol

The Painter Aureliano de Beruete
Oil on canvas. 1902
Sorolla y Bastida, Joaquín
The Painter Aureliano de Beruete
Oil on canvas. 1902
Sorolla y Bastida, Joaquín

The Painter Aureliano de Beruete is the most outstanding of all the portraits made by Sorolla. In this work he successfully combined the Velázquez inspiration that was a feature of his oeuvre during that period with direct and rigorous painting from the life and a profound and sensitive interpretation of the sitter’s outstanding personality. Sorolla was especially gifted at portraiture owin

The Immaculate Conception as a Child
Oil on canvas. 1656
Zurbarán, Francisco de
The Immaculate Conception as a Child
Oil on canvas. 1656
Zurbarán, Francisco de

The Virgin Mary is presented as a little girl with her hands crossed over her chest. Wearing blue and white, she ascends on a group of angels’ heads as the heavens open to welcome her. This differs from earlier versions of the same subject by Zurbarán in its lack of symbols of the litanies and in the presence of a group of singing angels that occupy the entire bottom of the painting and are

Saint Margaret resuscitating a Young Man
Oil on canvas. Ca. 1620
Serodine, Giovanni
Saint Margaret resuscitating a Young Man
Oil on canvas. Ca. 1620
Serodine, Giovanni

This painting is both beautiful in appearance and enigmatic on account of its problems of attribution, its authorship having fluctuated between several artists, all belonging to the aesthetic environment of Michelangelo Merisi, Caravaggio. Indeed, although it is now definitely ascribed to Serodine, some critics still believe it to be the work of the latter. Its history can be traced back to 1647,

Heraclitus, the Crying Philosopher
Oil on canvas. 1636 - 1638
Rubens, Peter Paul (Workshop Of)
Heraclitus, the Crying Philosopher
Oil on canvas. 1636 - 1638
Rubens, Peter Paul (Workshop Of)

The Greek philosopher, Heraclitus of Ephesus (540-470 B.C.), wears a black tunic and leans on a stone, weeping. He embodies the idea of a tragic sense of life, thinking about the future form a lonely and pessimistic point of view. This work was made for the Torre de la Parada, a small royal palace near Madrid, and contrasts with the thinking of Democritus (P01682), with which it was paired.

Landscape with Saint Jerome
Oil on panel. 1516 - 1517
Patinir, Joachim
Landscape with Saint Jerome
Oil on panel. 1516 - 1517
Patinir, Joachim

Patinir shows St Jerome sitting inside the wooden shack that leans against the rocks in the foreground. As with the Landscape with the Martyrdom of St Catherine in Vienna (Kunsthistorisches Museum), the painter here raises the line of the horizon, leading to an increase in the space devoted to the landscape and the consequent reduction of the sky (although this has been cut down still further, it

Still Life with Vase of Flowers and a Puppy
Oil on canvas. Ca. 1625
Hamen y León, Juan Van Der
Still Life with Vase of Flowers and a Puppy
Oil on canvas. Ca. 1625
Hamen y León, Juan Van Der

This work and its companion (P6413) belonged to Jean de Croy, Count of Solre and captain of the Flemish Royal Guard of Archers, of which Van der Hamen was a member. Unframed, the two paintings hung in De Croy’s Madrid palace, where they flanked the entrance to the painting gallery. As such, they may have served as a trompe l’oeil expansion of the real space, whose floor they probably reproduce. Th

The Artist
Oil on canvas. Ca. 1887
Martínez del Rincón y Trives, Serafín
The Artist
Oil on canvas. Ca. 1887
Martínez del Rincón y Trives, Serafín

El palentino Martínez del Rincón desarrolló una carrera marcada por las reminiscencias de un romanticismo tardío. Combinó su interés por los asuntos orientalistas con la pintura de tipos femeninos, que abordó siempre desde arquetipos conservadores. Esta es una de sus pinturas más célebres en ese sentido, y una de las muchas imágenes de la feminidad que le adquirió el Estado a través de los premios

Woman Painting by the Sea
Oil on panel. Ca. 1882
Palmaroli y González, Vicente
Woman Painting by the Sea
Oil on panel. Ca. 1882
Palmaroli y González, Vicente

A woman paints energetically à plein air in a fashionable resort on the Normandy coast. Although it cannot be ruled out that this is a portrait of a real woman artist, the ambiguous characterisation would distance it from the conventions used to depict male painters by both Palmaroli and the artists of his closest circle.

Self-Portrait
Oil on canvas. 1884
Domingo Marqués, Francisco
Self-Portrait
Oil on canvas. 1884
Domingo Marqués, Francisco

From an early age, Domingo displayed considerable skill as a portraitist. In this self-portrait, he is seated in profile, standing out against a dark background. In contrast to the intimate, introspective nature of most self-portraits, here the artist clearly had a larger public in mind; this is evident in the format and the clothing, and also in the emphasis on the tools of the painter’s professi

Still Life with Römer, Silver Tazza and Bread Roll
Oil on canvas. 1637
Claesz., Pieter
Still Life with Römer, Silver Tazza and Bread Roll
Oil on canvas. 1637
Claesz., Pieter

This still life forms part of the group of paintings Vroom dubbed monochrome banketjes or monochrome still lifes which were started in 1629 by Willem Claesz. Heda, but which Pieter Claesz. cultivated with equal mastery, to the point that these two painters are considered its leading exponents. The work is dated 1637 and signed with Claesz´s typical monogram and the enigmatic word TÉNESIUS I

The Genius of Painting
Oil on canvas. Ca. 1650
Mehus, Lieven
The Genius of Painting
Oil on canvas. Ca. 1650
Mehus, Lieven

Born in Flanders, Livio Mehus moved to Milan at a young age and is thus often considered an artist of the Italian school. He is recorded in Rome at the age of fourteen and later in Florence, Lucca and around Genoa. He also worked successively in Piamonte and Lombardy. There is ample documentation of his activity as a painter of frescoes and oils, an expert on northern Italian painting and a restor

The 12th Marchioness of Villafranca painting her Husband
Oil on canvas. 1804
Goya y Lucientes, Francisco de
The 12th Marchioness of Villafranca painting her Husband
Oil on canvas. 1804
Goya y Lucientes, Francisco de

María Tomasa Palafox (1780-1835), Marchioness of Villafranca, is shown wearing a white empire-style dress and sitting on a red silk damask armchair, with her feet on a cushion. She is painting a portrait of her husband, Francisco de Borja Álvarez de Toledo y Gonzaga, XI Marquis of Villafranca. The Marchioness received an enlightened education from her mother, the Countess of Montijo.

The chamber of Philip IV in the Buen Retiro Royal Palace
Oil on panel. 1881
Poleró y Toledo, Vicente
The chamber of Philip IV in the Buen Retiro Royal Palace
Oil on panel. 1881
Poleró y Toledo, Vicente

Mariana of Austria, Queen Consort between 1665 and 1675, talks to the Jesuit priest Nithard, her confessor and confidant, in the presence of her son Charles II, still a minor. The scene takes place in a room in the Buen Retiro Palace –on the left we see a Hieronymite monk– decorated by the painter with works related to Velazquez and King Philip IV: Las Meninas, the equestrian portraits of Philip I

Ascent of a Montgolfier Balloon at Aranjuez
Oil on canvas. Ca. 1784
Carnicero, Antonio
Ascent of a Montgolfier Balloon at Aranjuez
Oil on canvas. Ca. 1784
Carnicero, Antonio

The event depicted in this painting by Antonio Carnicero illustrates the interest in scientific advances characteristic of the Enlightenment, a historical period from the second half of the 18th century dominated by practical reason. The image shows French balloon pilot Bouclé’s experiment in the gardens of the Royal Seat at Aranjuez on June 5, 1784, during the final years of Charles III’s

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