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Diana and her Nymphs surprised by Satyrs
Oil on canvas. 1639 - 1640
Rubens, Peter Paul
Diana and her Nymphs surprised by Satyrs
Oil on canvas. 1639 - 1640
Rubens, Peter Paul

Diana the huntress is resting with her court of Nymphs in a clearing in the woods when she is attacked by a group of Satyrs. Rubens turned this painting into a virtuoso exercise in composition. In the foreground, two volumes lead to the rest of the scene: on the left are the hunting trophies attained by the nymphs, and on the right, a reclining nymph with her back to the viewer, one of the most se

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

Female Nude, or After the Bath
Oil on canvas. Ca. 1869
Rosales Gallinas, Eduardo
Female Nude, or After the Bath
Oil on canvas. Ca. 1869
Rosales Gallinas, Eduardo

Considered to be, with good reason, the most beautiful nude in nineteenth-century Spanish painting, this work provides eloquent testimony of the modernity that made Rosales stand out in the Spanish artistic panorama of his time. He would have earned himself a prominent place among the era´s artistic vanguard in Europe if his brilliant career had not been cut short by his premature death. Neither a

Bathsheba at her Bath
Oil on canvas. 1696 - 1698
Giordano, Luca
Bathsheba at her Bath
Oil on canvas. 1696 - 1698
Giordano, Luca

Giordano ofrece una versión amable del pasaje bíblico que narra el encuentro del rey David y Betsabé, dando relevancia a los elementos exóticos, anecdóticos o decorativos, donde solo la sensualidad de Betsabé remite a la escabrosa historia narrada en el Libro de Samuel (II, 11: 2-27). David, acecha en el segundo plano, pintado con trazos ligeros y rápidos, construidos directamente sobre la prepara

Female Nude
Oil on canvas. 1902
Pinazo Camarlench, Ignacio
Female Nude
Oil on canvas. 1902
Pinazo Camarlench, Ignacio

The nude young woman sits on a white cloth with which she covers her lap. The artist paints her in profile and avoids showing her face. This is one of many nude studies made by this artist, and it may well be the most lauded of them all. Several of its characteristic aspects have been praised for their exquisite mastery, including the rich palette —especially the greens, which vary rhythmically— t

Triptych of the Redemption: The Expulsion of Adam and Eve from Paradise
Oil on panel. Ca. 1450
Master Of The Prado Redemption
Triptych of the Redemption: The Expulsion of Adam and Eve from Paradise
Oil on panel. Ca. 1450
Master Of The Prado Redemption

This triptych is the principal creation and the work that has given the name to an anonymous follower of Rogier van der Weyden, previously identified as Vrancke van der Stockt. When open the triptych shows the Expulsion from the Garden of Eden, the Crucifixion and the Last Judgment. The left panel shows the Expulsion from Paradise with various scenes alluding to the Creation in the arch´s orders.

Air
Oil on canvas. 1675 - 1700
Anonymous
Air
Oil on canvas. 1675 - 1700
Anonymous

This canvas by a late 17th-century painter is part of a group of four works, all at the Museo del Prado (P191, P3196, P3197 and P3198), that express the idea of the Elements through motives drawn from classical mythology. The female figure that represents Air is accompanied by the Winds. In her right hand, she carries a bag that sprinkles water, representing rain, while the ray of light represents

The Pearl and the Wave
Oil on canvas. 1862
Baudry, Paul
The Pearl and the Wave
Oil on canvas. 1862
Baudry, Paul

An intensely sensual female nude that presents the figure in the form of a pearl enclosed in its box, the ocean, which may be an allusion to the birth of Venus. Presented at the Paris Salon of 1863, this work was one of the most appreciated female nudes of Second Empire Paris, despite the strong criticism it received as an exultantly erotic work lacking any moral modesty. Its first owner was the E

Diana and her Nymphs hunting
Oil on oak panel. 1636 - 1637
Rubens, Peter Paul
Diana and her Nymphs hunting
Oil on oak panel. 1636 - 1637
Rubens, Peter Paul

Recognizable by the crescent-moon-shaped diadem on her head, Diana hunts deer with spears and dogs, accompanied by various nymphs. The extremely horizontal composition is one of the peculiarities of this work, which belongs to an important sect of sketches made by Rubens for the pictorial decoration of the Torre de la Parada. On these small panels, the painter defined the design, colors, forms and

Susannah and the Elders
Oil on canvas. Ca. 1580
Veronese, Paolo (Paolo Cagliari)
Susannah and the Elders
Oil on canvas. Ca. 1580
Veronese, Paolo (Paolo Cagliari)

Venetian sixteenth-century painters frequently made use of this story as it allowed them to depict their client´s preferred subject-the female nude- using the vehicle of a biblical episode. The confrontation between Susannah and the Elders is the most psychologically interesting moment in the narrative (Daniel 13, 15-27). Susannah´s pale, nude flesh conveys a strong sensation of fragility, emphasi

After the Bath (Female Nude)
Oil on canvas. Ca. 1895
Madrazo y Garreta, Raimundo de
After the Bath (Female Nude)
Oil on canvas. Ca. 1895
Madrazo y Garreta, Raimundo de

Madrazo shows his skill at bringing female sensuality to the fore in an intimate scene of daily toilette that recalls French Rococo. The various objects scattered on the floor have an evident erotic connotation, and so too does the nude, with soft transparencies and a profusion of vibrantly executed fabrics around her.

Landscape with Diana and Acteon
Oil on panel. Ca. 1608
Clerck, Hendrik de; Alsloot, Denis Van
Landscape with Diana and Acteon
Oil on panel. Ca. 1608
Clerck, Hendrik de; Alsloot, Denis Van

Hunting in the woods, Acteon stops on the banks of a stream when he sees Diana and her nymphs bathing nude on the opposite bank. Fascinated by their beauty, he observes them with a challenging and amused expression, unaware of the cost of his boldness. Indeed, the outcome will be tragic, as Diana, goddess of chastity, is furious at being seen in the nude by a mortal. She responds by transforming t

The Purification of the Midianite Virgins
Oil on canvas. Last quarter of the XVI century
Tintoretto, Jacopo Robusti (Workshop Of)
The Purification of the Midianite Virgins
Oil on canvas. Last quarter of the XVI century
Tintoretto, Jacopo Robusti (Workshop Of)

This is one of seven canvases (P00386, P00388, P00389, P00393, P00394, P00395, P00396) in a group linked by the same color scheme, a general accentuation of surface drawing and a rhythm of curved forms that link on painting to another. The scenes were designed to be seen together, at a certain height and laid out on canvases conceived as inclined planes that converged on a central painting. Clearl

The Temptations of Saint Anthony Abbot
Oil on panel. 1543 - 1550
Coecke Van Aelst, Pieter
The Temptations of Saint Anthony Abbot
Oil on panel. 1543 - 1550
Coecke Van Aelst, Pieter

Saint Anthony is tempted by the Devil, transformed into a beautiful naked woman accompanied by a witch. The burning city in the background, the monsters and other elements are derived from Bosch (c. 1450-1516). However, the figures of Saint Anthony, the witch and particularly the female nude reveal Van Aelst’s assimilation of the new Italian Renaissance idiom.

Diana and a Nymph Discovered by a Satyr
Oil on canvas. 1622 - 1627
Dyck, Anthony Van (Workshop Of)
Diana and a Nymph Discovered by a Satyr
Oil on canvas. 1622 - 1627
Dyck, Anthony Van (Workshop Of)

From the 1857 Inventory of the Royal Museum through 2002, this work was listed as Diana and Endymion Discovered by a Satyr, but L. Ruiz has demonstrated that the scene is Diana and a Nymph Discovered by a Satyr, as the figure sleeping alongside Diana is female. Her body, completely covered by a bluish tunic, and her pearl necklace in no way recall Endymion’s masculine appearance. The satyr was a n

Diana bathing with her Nymphs
Oil on copperplate. Ca. 1624
Poelenburch, Cornelis Van
Diana bathing with her Nymphs
Oil on copperplate. Ca. 1624
Poelenburch, Cornelis Van

The scene here unfolds in the foreground, which is occupied by a large rocky outcrop and trees and on the right opens onto a luminous landscape enclosed by mountains in the background. The spatial transition between the dark foreground and luminous background is still somewhat awkward. In the figures the brushwork is smooth and uniform, giving the nudes a pearly appearance, whereas in the landscap

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

Eve
Oil on panel. 1507
Dürer, Albrecht
Eve
Oil on panel. 1507
Dürer, Albrecht

Like the painting of Adam (P02177), represented on a separate panel, Eve´s unstable posture, her rhythmical movements and her affected gestures are sometimes interpreted as a return to earlier models of Gothic art, instead of what they really are, a foretaste of Mannerism. The solidity of the two bodies, Eve´s slightly Gothic curves -the prototype of a Germanic Venus- and Adam´s fascinated express

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