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Kitchen still life with a hare and two partridges
Oil on canvas. Ca. 1785
Nani, Mariano
Kitchen still life with a hare and two partridges
Oil on canvas. Ca. 1785
Nani, Mariano

Utilising an almost photographic, frontal composition that enhances the naturalism of the image, Mariano Nani here depicts with great descriptive effectiveness the catch from a day’s hunting, which has just been tied with a piece of rope and suspended from nails hammered into the wall. We see a large hare, with white and hazelnut-coloured fur, hanging upside down by one of its hind legs, to allow

The Extraction of the Stone of Madness
Oil on oak panel. 1501 - 1505
Bosch, Hieronymus
The Extraction of the Stone of Madness
Oil on oak panel. 1501 - 1505
Bosch, Hieronymus

In the centre of a rectangular surface Bosch incised a circle in which he depicted this scene of Extracting the stone of madness. The resulting image is a mirror that offers a reflection of folly and human madness, located in a rural world remote from that of the nobility and urban life, hence the setting in the countryside in an open landscape. As found in miniature painting of the time, the arti

Saint Peter Martyr
Oil on panel. 1491 - 1499
Berruguete, Pedro
Saint Peter Martyr
Oil on panel. 1491 - 1499
Berruguete, Pedro

The painting is the central panel of the altarpiece of Saint Peter Martyr from the Convent of Santo Tomás in Avila, together with four other panels in the Museum (P611, 614). The three altarpieces installed in the chancel of Santo Tomás in Ávila had a similar composition: a central panel with the image of the titular saint flanked by four lateral panels, two on either side, de

Portrait of a Knight of the Order of Santiago
Oil on panel. Ca. 1560
Juanes, Juan de (Vicente Juan Masip)
Portrait of a Knight of the Order of Santiago
Oil on panel. Ca. 1560
Juanes, Juan de (Vicente Juan Masip)

Purchased by Charles IV, this portrait entered the royal collections in 1814 and was already listed in the Museo del Prado’s catalogs in 1854 as a work by Juan de Juanes. The identity of the sitter has varied since José de Madrazo suggested it was Luis Castelví, Lord of Carlet. Today, lacking unanimous agreement, it is generally accepted as a likeness of the Lord of Bicorp y Quera, L

The Trial of Christ
Oil on panel. Ca. 1623
Francken II, Frans
The Trial of Christ
Oil on panel. Ca. 1623
Francken II, Frans

The Virgin Dolorosa
Oil on canvas. 1785 - 1790
Camarón, José
The Virgin Dolorosa
Oil on canvas. 1785 - 1790
Camarón, José

Death of Saint Peter Martyr
Oil on panel. 1491 - 1499
Berruguete, Pedro
Death of Saint Peter Martyr
Oil on panel. 1491 - 1499
Berruguete, Pedro

This is one of a set of panels (P00611, P00612, P00614 y P00617) from Santo Tomás in Avila, where they were very likely part of an altarpiece dedicated to Saint Peter, the Martyr of Verona. It originally stood beside the transept but was later in the upper cloister of the convent. Saint Peter, the Martyr of Verona (thirteenth century) knew Saint Dominic and became a member of his new order,

The Death of Lucretia
Oil on canvas. 1871
Rosales Gallinas, Eduardo
The Death of Lucretia
Oil on canvas. 1871
Rosales Gallinas, Eduardo

After revolutionizing the painting of his time with Queen Isabel la Católica dictating her Last Will and Testament (P4624), Rosales again shook the very foundations of the Spanish art world when he presented the present historical canvas at the 1871 Exposición Nacional. This is the work that he always considered his masterpiece, and it earned him a first medal. It was always very pol

Man Killing a Monk or an Old Woman
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
Man Killing a Monk or an Old Woman
Black chalk, Lithographic crayon on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 34. Like a picador in a bullfight, a man gripped by fury straddles the back of a monk or an old woman in order to plunge a dagger into his/her neck. As an iconographic reference to the martyrdom of the elderly Saint Apollonia, whose teeth were torn out, the pincers lying at the prone figure’s feet may explain the motive for the crime. In line with the grotesque humor

Sagunto
Marble. 1888
Querol y Subirats, Agustín
Sagunto
Marble. 1888
Querol y Subirats, Agustín

A mother plunges into her own breast the dagger with which she has killed her son, to avoid their being taken by the Carthaginian soldiers, led by Hannibal, who were laying siege to Sagunto, a Spanish city protected by Rome during the Second Punic War in around 218 B. C. In this work, which Querol made in Rome, he combines a realistic treatment with a strongly dramatic rhetoric.

The Feast of Bacchus
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
Blanco y Assensio, Alejandro; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The Feast of Bacchus
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
Blanco y Assensio, Alejandro; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

La litografía, realizada por Alejandro Blanco y Assensio, reproduce el lienzo de Velázquez (P01170) también conocido como El triunfo de Baco por su interpretación como una alegoría sobre el vino. Así Baco, dios del vino, que tiene unas hojas de vid en la cabeza, corona de hiedra a un joven arrodillado. Les acompañan un sátiro que levanta su copa y varios personajes alegres por efecto del vino con

The Adoration of the Magi
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Decraene, Florentino; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Adoration of the Magi
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Decraene, Florentino; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Florentino Decraene (1795-1852) que reproduce el lienzo de Rubens conservado en el Museo Nacional del Prado (P01638). Esta estampa se entregaba con el cuadernillo LXXXVI e iba acompañado de un texto explicativo de José Musso y Valiente. Iba encuadernada en el tomo II de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España el señor don Ferna

The Adoration of the Magi
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Decraene, Florentino; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Adoration of the Magi
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Decraene, Florentino; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Florentino Decraene (1795-1852) que reproduce el lienzo de Rubens conservado en el Museo Nacional del Prado (P01638). Esta estampa se entregaba con el cuadernillo LXXXVI e iba acompañado de un texto explicativo de José Musso y Valiente. Iba encuadernada en el tomo II de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España el señor don Ferna

The Feast of Bacchus
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
Blanco y Assensio, Alejandro; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The Feast of Bacchus
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
Blanco y Assensio, Alejandro; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

La litografía, realizada por Alejandro Blanco y Assensio, reproduce el lienzo de Velázquez (P01170) también conocido como El triunfo de Baco por su interpretación como una alegoría sobre el vino. Así Baco, dios del vino, que tiene unas hojas de vid en la cabeza, corona de hiedra a un joven arrodillado. Les acompañan un sátiro que levanta su copa y varios personajes alegres por efecto del vino con

The Feast of Bacchus
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
Blanco y Assensio, Alejandro; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Feast of Bacchus
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
Blanco y Assensio, Alejandro; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut

The Feast of Bacchus
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
Blanco y Assensio, Alejandro; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Feast of Bacchus
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
Blanco y Assensio, Alejandro; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

La litografía, realizada por Alejandro Blanco y Assensio, reproduce el lienzo de Velázquez (P01170) también conocido como El triunfo de Baco por su interpretación como una alegoría sobre el vino. Así Baco, dios del vino, que tiene unas hojas de vid en la cabeza, corona de hiedra a un joven arrodillado. Les acompañan un sátiro que levanta su copa y varios personajes alegres por efecto del vino con

The Feast of Bacchus
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
Blanco y Assensio, Alejandro; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Feast of Bacchus
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
Blanco y Assensio, Alejandro; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

La litografía, realizada por Alejandro Blanco y Assensio, reproduce el lienzo de Velázquez (P01170) también conocido como El triunfo de Baco por su interpretación como una alegoría sobre el vino. Así Baco, dios del vino, que tiene unas hojas de vid en la cabeza, corona de hiedra a un joven arrodillado. Les acompañan un sátiro que levanta su copa y varios personajes alegres por efecto del vino con

The Feast of Bacchus
Taille douce: etching and engraving on laid paper. 1793
Salvador Carmona, Manuel; Cruz Vázquez, Manuel de la; Imprenta Real
The Feast of Bacchus
Taille douce: etching and engraving on laid paper. 1793
Salvador Carmona, Manuel; Cruz Vázquez, Manuel de la; Imprenta Real

This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints

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