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Jesus carrying the Cross
Oil on canvas. Ca. 1516
Piombo, Sebastiano del
Jesus carrying the Cross
Oil on canvas. Ca. 1516
Piombo, Sebastiano del

Jerónimo Vich y Valterra (1459-1535) was Spain’s ambassador to Rome between 1506 and 1521, under the reigns of Ferdinand the Catholic and Charles V. Vich commissioned Sebastiano del Piombo to paint a triptych whose central panel with the Lamentation over the Body of Christ is now at the Hermitage Museum in Saint Petersburg. One of its sides bears Christ’s Descent into Limbo and is also at t

Orpheus and Eurydice
Oil on canvas. 1636 - 1638
Rubens, Peter Paul (And Workshop)
Orpheus and Eurydice
Oil on canvas. 1636 - 1638
Rubens, Peter Paul (And Workshop)

Orpheus descends into the Underworld to recover his wife, Eurydice, who died after being bitten by a serpent. Pluto and Proserpina, the god and goddess of the underworld, are so moved by the music of his lyre that they accede to his request. The only condition they impose is that he contains his desire and not look at his beloved until they have both fully departed the underworld. On the basis of

Salome
Oil on canvas. Ca. 1550
Titian (Tiziano Vecellio)
Salome
Oil on canvas. Ca. 1550
Titian (Tiziano Vecellio)

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

The Recapture of Saint Christopher
Oil on canvas. 1634 - 1635
Castello, Félix
The Recapture of Saint Christopher
Oil on canvas. 1634 - 1635
Castello, Félix

The island of Saint Christopher (modern-day Saint Kitts) in the Lesser Antilles was invaded by the English and French and recaptured by Spanish forces in 1629. The Spanish expedition was led by Fadrique de Toledo y Osorio, I Marquis of Villanueva de Valdueza and Captain General of the Ocean Fleet. He was accompanied by Fleet General Martín de Vallecilla and Admiral Antonio de Oquendo. After

The Death of Viriatus, Chief of the Lusitanians (preparatory sketch)
Oil on canvas. Ca. 1807
Madrazo y Agudo, José de
The Death of Viriatus, Chief of the Lusitanians (preparatory sketch)
Oil on canvas. Ca. 1807
Madrazo y Agudo, José de

This preparatory sketch for the large-scale canvas painted by Madrazo in Rome (also on display in this room) reveals various differences with respect to the final composition. Madrazo gave more space to the tent in the upper part of the sketch, which he subsequently reduced. There are also differences in the figures and in the landscape with the camp on the far right, which he enlarged.

The Holy Family with Angels
Oil on panel. Ca. 1524
Parmigianino. Girolamo Francesco Maria Mazzola
The Holy Family with Angels
Oil on panel. Ca. 1524
Parmigianino. Girolamo Francesco Maria Mazzola

When Parmigianino left his native city of Parma to move to Rome in 1524 he took this painting with him and presented it to Pope Clement VII. This is the artist´s first mature work and one that already reveals the grace that Vasari considered the greatest aesthetic quality of any painting: a gift of nature impossible to learn, combining beauty, delicacy and sweetness.

Country Celebration
Oil on canvas. 1647
Teniers The Younger, David
Country Celebration
Oil on canvas. 1647
Teniers The Younger, David

A group of local people dance to the sound of bagpipes and a hurdy-gurdy in honour of a bride, who presides at the table in the background, surrounded by what seem to be older relatives or guests. The distant background, in which a tall-spired church can be made out, is populated by a group of distinguished personages, one of whom could be Archduke Leopold Wilhelm of Austria, governor of the Spani

Christ shown to the People / The Virgin and Child
Oil on panel. Ca. 1500
Anonymous
Christ shown to the People / The Virgin and Child
Oil on panel. Ca. 1500
Anonymous

Christ shown to the People is an unfinished painting that allows for the direct study of the pictorial process, specifically the underlying drawing. It is a work in progress for which the first stages of execution (preparation of the support and preliminary drawing) have been completed. The painting stage has begun and reaches different degrees of completion depending on the figure in question. Th

Saint Luke
Oil on canvas. Ca. 1778
Bayeu, Francisco
Saint Luke
Oil on canvas. Ca. 1778
Bayeu, Francisco

This is a sketch for one of the frescoes on the gospel side of the Royal Chapel at the Royal Palace of Aranjuez. The frescoes were painted in 1778–79 around the theme of Saint Luke Painting the Virgin. The figure of Saint Luke is depicted in the central part of the composition. Meanwhile, on his right, there is an unfinished easel painting of the Virgin with Child, as is characteristic in the icon

The Surrender of Jülich
Oil on canvas. 1634 - 1635
Leonardo, Jusepe
The Surrender of Jülich
Oil on canvas. 1634 - 1635
Leonardo, Jusepe

The capitulation of the Rhenish city of Jülich was one of the most outstanding events at the beginning of the Thirty Years War (1618-1648). Occupied by Maurice of Nassau’s French troops since 1610, Jülich surrendered to an army led by the Marquis of Los Balbases, General Ambrosio de Spínola, who would later triumph at Breda. This event took place after the truce established in 160

Saint Peter liberated by an Angel
Oil on canvas. 1652 - 1657
Cano, Alonso
Saint Peter liberated by an Angel
Oil on canvas. 1652 - 1657
Cano, Alonso

Saint Peter was sleeping when an angel woke him in order to break his chains and release him from prison. The stone block on which the saint is sleeping and the keys and sandals on the floor are his identifying attributes. The painting’s unusual format reflects its original function as an over-door in the convent of the Ángel Custodio (Guardian Angel) in Granada.

Luis Álvarez Catalá, Director of the Museum
Oil on canvas. 1899
Carolus Duran. Charles-Emile-Auguste Durand
Luis Álvarez Catalá, Director of the Museum
Oil on canvas. 1899
Carolus Duran. Charles-Emile-Auguste Durand

Retrato de Luis Álvarez Catalá (Madrid, 1836-1901), pintor que estuvo estrechamente vinculado al Museo del Prado, del que fue sucesivamente Secretario, Subdirector y Director. A diferencia de lo que ocurría con otros directores, el Museo no conservaba retrato suyo. Por ello, tiene interés esta efigie realizada, además, durante el ejercicio de su dirección, con motivo del hecho más sobresaliente en

Josefa Coello de Portugal
Oil on canvas. 1855
Madrazo y Kuntz, Federico de
Josefa Coello de Portugal
Oil on canvas. 1855
Madrazo y Kuntz, Federico de

In the mid-nineteenth century Federico de Madrazo produced some of the most successful portraits of the Spanish bourgeoisie during the reign of Isabel II (1833-68), presenting them with the opulence that their social status demanded. In addition to his remarkable artistic ability, his female portraits are outstanding for their depiction of the accessories and adornments. These details are emphasis

Last Supper
Oil on canvas. Ca. 1586
Bassano, Francesco
Last Supper
Oil on canvas. Ca. 1586
Bassano, Francesco

Although Bettini noted a number of paternal precedents for this painting, it is a personal interpretation by Francesco of the gospel passage. Three versions are known, of which the Prado painting is the last. The first, dated about 1585, was auctioned by Sotheby´s of Florence in 1984, and there is a preparatory drawing of the figures of the elderly man with a bear and the page on the left (V

The Virgin nursing the Child
Oil on panel. Ca. 1530
Reymerswale, Marinus Van
The Virgin nursing the Child
Oil on panel. Ca. 1530
Reymerswale, Marinus Van

Marinus has depicted the Virgin nursing the Child in a domestic interior. Both figures are shown without halos, turning the representation into an image of the tender relationship between a mother and her child in the viewer’s own time and place. This iconography already appeared in the early fifteenth century and was used especially for images intended for private devotion. During the later Middl

Carlota Joaquina, Infanta of Spain and Queen of Portugal
Oil on canvas. 1785
Maella, Mariano Salvador
Carlota Joaquina, Infanta of Spain and Queen of Portugal
Oil on canvas. 1785
Maella, Mariano Salvador

Painted in Aranjuez, this portrait depicts the eldest daughter of Charles IV and María Luisa de Parma. Born in 1775, in 1785 the Infanta married Prince Juan de Braganza, the future Juan VI of Portugal. She died in 1830. This is one of Maella’s finest portraits as well as a perfect example of the delicate refinement of court portraiture at this period.

Jesus carrying the Cross
Oil on slate. 1532 - 1535
Piombo, Sebastiano del
Jesus carrying the Cross
Oil on slate. 1532 - 1535
Piombo, Sebastiano del

Piombo was the Italian painter most in demand by Spanish clients during the first half of the sixteenth century. Fernando de Silva, Count of Cifuentes and ambassador to Rome from 1533 to 1536, commissioned him to paint Christ carrying the Cross, which is now at the Hermitage Museum and is extraordinarily similar to the present work. The Prado´s work is less dramatic, in part because here, Christ i

The Adoration of the Shepherds
Oil on unlined canvas. 1628
Cavedone, Giacomo
The Adoration of the Shepherds
Oil on unlined canvas. 1628
Cavedone, Giacomo

This work repeats the canvas painted in 1613 and 1614 for the Arrigoni Chapel at San Polo Maggiore in Bologna, although there are some differences in the foreground, the Heavens with Putti and the objects that make up the still life. Its contents mix Venetian memories with hints of Caravaggio and an evident debt to Guido Reni, who had recently returned from Rome. There is a preparatory drawing for

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