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Infra-red reflectography conducted for this catalogue reveals no underdrawing, which could suggest that this painting is a copy, possibly a workshop replica of the signed original in the Musée des Beaux-Arts in Bordeaux. There used to be another very similar version of this original in the Hoogsteder Gallery in The Hague.The inscription Rf. is an apocryphal signature possibly intended, as V
Until 1972, the Museo del Prado catalogues record that the signature of M. Hobbema (with the MH intertwined) appears on the tree stump. In the 1985 catalogue this signature is said to be apocryphal. Whatever the case, recent studies of the picture have been unable to reveal any such signature. Valdivieso (1973) considers it to be an original by Jan Looten (1618-ca. 1681). The composition is remini
The portraitee, chamberlain to King Philip II and warden of the Country House, is dressed in black, except for cuffs and frills, his figure silhouetted against a neutral background. His head is covered with a hat that is also black, his right hand is resting on the belt and he is holding gloves in his left hand. His only adornment is a chain with a gold crucifix, which apparently he kept with him
The Palacio del Buen Retiro in Madrid boasted a full set of the Furias -Tantalus (P3784), Tityus (P3941), Ixion (P3785) and Sisyphus (P3942)-, now in the Museo del Prado; some scholars maintain that they were produced in Ribera’s work-shop, while others attribute them to the circle of the young Giordano.
The Palacio del Buen Retiro in Madrid boasted a full set of the Furias -Tantalus (P3784), Tityus (P3941), Ixion (P3785) and Sisyphus (P3942)-, now in the Museo del Prado; some scholars maintain that they were produced in Ribera’s work-shop, while others attribute them to the circle of the young Giordano (Falomir, M.: Las Furias. Alegoría política y desafío artístico, Mu
The Palacio del Buen Retiro in Madrid boasted a full set of the Furias -Tantalus (P3784), Tityus (P3941), Ixion (P3785) and Sisyphus (P3942)-, now in the Museo del Prado; some scholars maintain that they were produced in Ribera’s work-shop, while others attribute them to the circle of the young Giordano.
This canvas represents the full body of a bishop from the front, wearing an alb, a rich brocade chasuble and a mitre. He appears in a meditative pose while reading a book, which he holds in his left hand. On his right, he holds the pastoral crozier, which is decorated with a green cloth sleeve, in his right hand. The figure is located in the foreground, in an exterior dominated by a very open land
By 1599, Francisco Pacheco had already begun work on his Libro de descripción de verdaderos retratos de ilustres y memorables varones (Book of Descriptions of True Portraits of Illustrious and Memorable Gentlemen), a collection of drawings portraying Spaniards who stood out in the fields of politics, religion, the arts and letters, with a text accompanying each likeness. Pacheco enlisted th
Dibujo que representa el tema de la Asunción de la Virgen, copia tal vez de una composición de mediados del s. XVII, se podría situar en la escuela boloñesa de fines de esa centuria (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VI. Dibujos italianos del siglo XVII, Museo del Prado, 1983, p.172).
This is a version of the celebrated Hellenistic group which depicts two athletes engaging in a form of wrestling considered an Olympic sport in ancient Greece. Serpentine, known in the past as “green from Prato”, was used for ornamental pieces. Requiring tremendous technical skill to carve, it was not used by sculptors in Italy until the late eighteenth and early nineteenth centuries.
This is one of the largest known Sumerian heads. It is quite similar to portraits of Gudea, the most famous and intelligent ruler of Lagasch. There is very little information about the origins of this piece, which Mexican collector Marius de Zayas donated to the Museo del Prado during World War II. Zayas himself stated that "the pieces that make up my donation have been collected over the course o
This marble statue and other seven more (E000068, E000041, E000040, E000062, E000061, E000038, E000037) were unearthed in about 1500 in Hadrian´s Villa at Tivoli, where the decorated the stage of the Academy Theatre or Odeon. They were made at the end of the reign of Emperor Hadrian (c. 130 AD), by two Roman worshops, reproducing Greek models from the second century BC. In about 1670, they were ac
This marble statue and other seven more (E000068, E000041, E000040, E000061, E000038, E000069, E000037) were unearthed in about 1500 in Hadrian´s Villa at Tivoli, where the decorated the stage of the Academy Theatre or Odeon. They were made at the end of the reign of Emperor Hadrian (c. 130 AD), by two Roman worshops, reproducing Greek models from the second century BC. In about 1670, they were ac
A brilliant orator and politician, Cicero (106-43 BC) became the literary reference for the values of Roman culture. This bust retains the original inscription with his name and age at his death in Roman numerals. The head is later and reproduces a well known model that was in the Mattei collection in Rome (now in London).
This marble statue and other seven more (E000068, E000040, E000062, E000061, E000038, E000069, E000037) were unearthed in about 1500 in Hadrian´s Villa at Tivoli, where the decorated the stage of the Academy Theatre or Odeon. They were made at the end of the reign of Emperor Hadrian (c. 130 AD), by two Roman worshops, reproducing Greek models from the second century BC. In about 1670, they were ac
This marble statue and other seven more (E000041, E000040, E000062, E000061, E000038, E000069, E000037) were unearthed in about 1500 in Hadrian´s Villa at Tivoli, where the decorated the stage of the Academy Theatre or Odeon. They were made at the end of the reign of Emperor Hadrian (c. 130 AD), by two Roman worshops, reproducing Greek models from the second century BC. In about 1670, they were ac
This marble statue and other seven more (E000068, E000041, E000040, E000062, E000061, E000038, E000069) were unearthed in about 1500 in Hadrian´s Villa at Tivoli, where the decorated the stage of the Academy Theatre or Odeon. They were made at the end of the reign of Emperor Hadrian (c. 130 AD), by two Roman worshops, reproducing Greek models from the second century BC. In about 1670, they were ac
This marble statue and other seven more (E000068, E000041, E000062, E000061, E000038, E000069, E000037) were unearthed in about 1500 in Hadrian´s Villa at Tivoli, where the decorated the stage of the Academy Theatre or Odeon. They were made at the end of the reign of Emperor Hadrian (c. 130 AD), by two Roman worshops, reproducing Greek models from the second century BC. In about 1670, they were ac
