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Peasants or villagers hold a feast in front of a tavern or inn, recognizable by its red flag. They drink, eat and dance to the music of a bagpiper standing on a barrel. On the left, various distinguished personages, who stand out because of their different clothing, look on with a combination of curiosity and indifference. A large church in the background indicates there is a town nearby. On the b
A wedding procession moves towards the church in a rural setting. The male members of both families lead the procession, headed by the groom. The flower in his hand is clearly a symbol of matrimony. The bride remains among the women. Both wear black clothing and a broad ruff collar, in keeping with early seventeenth-century style. The artist draws on the work of his father, Pieter Brueghel “the El
A group of youth play, accompanied by music in a garden setting. Two of them begin to dance, while others form small scenes of gallantry around them. This elegant courtly composition is completed by the images of the musicians. This work displays Rococo taste, showing the new French styles and customs practiced by the Spanish upper classes. The format of this work indicates that, originally, it pr
The artist chose the end of a wedding banquet in the country to offer a depiction of rural life during one its most collective moments. Some figures are shown inebriated, others are dancing, kissing and embracing or bringing gifts to the married couple located in the background before a red hanging.
Herod and Herodias appear at the right of the composition. Sitting at a table painted in foreshortened perspective, they look on—the king with a stupefied expression—as Salome presents them with the payment for her dance: John the Baptist’s head on a platter(Mark, 6 21-29). The skillfully lit architectural background clearly recalls Venice. The other figures in the scene are standing, which contri
This work belongs to the so-called peasant interiors, one of the new genres of painting that emerged and developed in the Netherlandsin the early seventeenth century. In Houbraken and in early inventories they are described as een boertje, (a little peasant) or as toeback rookerchen (tobacco smokers). The consolidation and appreciation of this genre was fostered by the satirical and moralising lit
A cartoon for the tapestry to be hung in the Prince of Asturias´s quarters at the El Pardo Palace. Two Majos appear at the center of the composition, playing characteristic 18th-century Spanish narrow-wasted popular guitars with five double strings (as indicated by their ten visible tuning pegs). Baroque guitars had five double strings, but around 1760 another pair was added, although both t
This gallant scene in French Rococo style is adapted to Spanish tastes, with the characters dressed in the traditional Madrid fashion as majos and majas. A couple dance in the center of the composition. They are flanked on the right by a group of musicians and on the left, by other couples. Like Watteau, Camarón frames a series of gallant loves scenes in a garden, the setting par excellence
In this moral work, the triumph of Death over mundane things is symbolized by a large army of skeletons razing the Earth. The background is a barren landscape in which scenes of destruction are still taking place. In the foreground, Death leads his armies from his reddish horse, destroying the world of the living. The latter are led to an enormous coffin with no hope for salvation. All of the soci
Known as a painter of “fêtes galantes”, Watteau combines a depiction of a marriage ceremony with a cheerful country dance. His composition recalls numerous scenes in Flemish painting, as does the natural setting.
A boy steps on another's back as he attempts to climb a tree and pick its fruit, while two others watch expectantly, hoping to receive some. This is one of Goya's cartoons for the tapestries intended to hang in the dining room of the Prince and Princess of Asturias (the future Carlos IV and his wife Maria Luisa de Parma) at El Escorial. Goya knew the world of children and repeated similar subjects
Salome, an Edomite princess born of Herodias and the wife of Herod Philip I, carries the severed head of Saint John the Baptist on a tray, illustrating a Bible passage from Matthew (14:1–11) and Mark (6:22–28). Titian had already painted this story in 1516 (Galleria Doria Pamphilj, Rome), with a pyramidal composition that showed Salome bearing the saint’s head on a tray held chest high, and a serv
Some boys whose clothing indicates they are from a wealthy family, play in the country, inflating a bladder under the watchful eyes of their nannies, who converse in the background. This is one of Goya's first depictions of the world of children and it already perfectly captures the candor an vivacity of children's games. Designed to hang over a door, this is one of Goya's cartoons for the tapestr
The Graces were minor deities but in this splendid work Peter Paul Rubens devotes his best effort to them. The three goddesses embrace each other forming a circle. The positioning of their feet suggests movement; they seem to dance gently. The setting is as luscious as the nude bodies of the goddesses. A field illuminated by sunlight filtered through dense trees stretches to a distant blue. The sh
In 1865 the Government of Isabel II commissioned Valeriano Domínguez Bécquer to capture the customs and costumes of Spain´s provinces. This work is part of that project whose anthropological bent was very much in keeping with the Romantic mentality. It shows one of the traditional dances from the province of Soria. This work entered the Prado Museum in 1878 from the now-defunct Museu
The panel shows three different scenes: in the distance on the left Salome’s dance, and on the right Salome is giving Herodias the Baptist’s head. In the foreground the beheading has already taken place: the executioner is placing John’s head on the platter that Salome is holding. The work comes from the Charterhouse in Miraflores, together with five other panels (P00705-P00710).
This canvas depicts an equestrian event that took place at the Palace of Aranjuez in 1770. It was attended by Charles III and Princess María Luisa, his daughter-in-law, who are to be seen in the second box adjoining the palace façade, and by a crowd of subtly individualised figures. On horseback at the forefront of the pairs of riders are Prince Carlos and the Infantes Gabriel and Lu
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