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Saint James the Less
Oil on panel. 1610 - 1612
Rubens, Peter Paul
Saint James the Less
Oil on panel. 1610 - 1612
Rubens, Peter Paul

This is one of a series of twelve panels (P01646, P01647, P01648, P01649, P01650, P01651, P01652, P01653, P01654, P01655, P01656, P01657) that make up an apostolate that originally included a Savior of the World. The disciples of Christ are represented in the style the painter used around 1612-1613. These are large figures of forceful appearance and considerable plasticity, contrasting with the da

The Sense of Sight
Oil on panel. 1617
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
The Sense of Sight
Oil on panel. 1617
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

This set of paintings on the five senses was one of the most successful collaborations of Peter Paul Rubens and Jan Brueghel “the Elder”. Rubens placed his figures in the magnificent courtly scenes created by Brueghel as settings for these allegories of the senses, resulting in a series of enormous quality and esthetic appeal. The subject was widely employed in Flemish painting. Sight was consider

The seven Liberal Arts
Tempera on panel. Ca. 1435
Ponte, Giovanni Dal
The seven Liberal Arts
Tempera on panel. Ca. 1435
Ponte, Giovanni Dal

This decoration of the front of a chest depicts the seven Liberal Arts, accompanied by an equal number of figures that represent the most relevant personages in each discipline. All are being crowned with laurel wreaths by small angels. Astronomy presides over the composition, carrying the heavenly sphere, with Ptolomy (first and second centuries A.D.) sitting at his feet and reading one of the th

The Defence of Cadiz against the English
Oil on canvas. 1634 - 1635
Zurbarán, Francisco de
The Defence of Cadiz against the English
Oil on canvas. 1634 - 1635
Zurbarán, Francisco de

The event depicted is Cadiz’s defense from the attack of an English fleet of one hundred ships and ten thousand men commanded by sir Henry Cecil, Viscount of Wimbledon, which occurred on November 1, 1625. That defense was led by don Fernando Girón y Ponce de León, a veteran of the Flanders campaigns and a military advisor who had been appointed governor by the king after he offered h

Rubens painting ‘The Allegory of Peace’
Oil on canvas. Ca. 1660
Giordano, Luca
Rubens painting ‘The Allegory of Peace’
Oil on canvas. Ca. 1660
Giordano, Luca

In this complex allegory, Mars, the god of war, is rejected by his lover Venus, who symbolises the peace painted by Rubens (1577-1640). On the ground at the lower edge we see objects destroyed by war: political power (the sceptre and orb); commerce or scientific knowledge (the astrolabe and armillary sphere); literature or peace treaties (a rolled-up manuscript) and diferent arts (the mask, the st

Departure of Charles of Bourbon for Spain, seen from the Sea
Oil on canvas. 1759
Joli, Antonio
Departure of Charles of Bourbon for Spain, seen from the Sea
Oil on canvas. 1759
Joli, Antonio

This painting depicts the moment when the Spanish fleet commanded by the Marquis of La Victoria leaves the port of Naples after having taken aboard the new monarch, Charles III, and his family. Accompanied by a considerable retinue, they were bound for Barcelona to begin their Spanish reign. The work bears the following inscription: His Catholic Majesty Embarking on the 6th day of October 1759 in

Allegory of the Arts
Pencil on brown paper. XVIII century
Anonymous
Allegory of the Arts
Pencil on brown paper. XVIII century
Anonymous

En el centro, en pie, la Pintura; a la derecha, sentada de perfil, con el compás y la escuadra, la Arquitectura; al fondo, la Escultura.Es apunte que enlaza con el estilo de Novelli, en el trazado de la pluma en rayas zigzagueantes o paralelas que hacen reconocibles sus dibujos. La composición cuidadosamente enmarcada a tinta, es quizá para frontispicio de un libro, pero la sequedad y debilidad de

Peace and her Fruits
Ivory. XVIII century
Anonymous
Peace and her Fruits
Ivory. XVIII century
Anonymous

The goddess Eirene, bearing an olive branch, personifies Peace. She is surrounded by allegories of her bounty: prosperity, plenty, the progress of all the arts represented and the rejection of arms, to which a Limo] is about en see light with a burning brand. The two-faced got-U.1os, on the pediment, bears witness to the beginning and the ending of conilice.

St. Jude Thaddeus
Etching, Burin on continuous paper. 1789 - 1795
Salvador Carmona, Juan Antonio; Calcografía Nacional
St. Jude Thaddeus
Etching, Burin on continuous paper. 1789 - 1795
Salvador Carmona, Juan Antonio; Calcografía Nacional

La estampa grabada por Juan Antonio Salvador Carmona forma parte de una serie de 28, dedicada al cardenal Francisco de Lorenzana, arzobispo de Toledo. Título de la serie tomado del Catálogo de estampas del Museo del Prado.Probablemente fue grabada entre 1789, fecha en que se le revalidó el título de Grabador de Cámara de S.M. y 1795, en la que hace referencia a esta serie en su Autobiografía (Rodr

Charles IV, King of Spain
Taille douce: etching and engraving on continuous paper. 1778 - 1788
Calcografía Nacional; Salvador Carmona, Juan Antonio
Charles IV, King of Spain
Taille douce: etching and engraving on continuous paper. 1778 - 1788
Calcografía Nacional; Salvador Carmona, Juan Antonio

Sin firmas de grabador ni dibujante los datos se han tomado del primer estado. La estampa hace pareja con la del retrato de Maria Luisa de Borbón. Se trata de una estampación de principios del siglo XX cuando la lámina ingresó en la Calcografía. Se conocen cuatro estados. El primero, dentro de un marco el retrato de tres cuartos casi frontal, con el sombrero encima de la mesa; a la derecha del mar

St. Jude Thaddeus
Etching, Burin on laid paper. 1789 - 1795
Salvador Carmona, Juan Antonio
St. Jude Thaddeus
Etching, Burin on laid paper. 1789 - 1795
Salvador Carmona, Juan Antonio

La estampa grabada por Juan Antonio Salvador Carmona forma parte de una serie de 28, dedicada al cardenal Francisco de Lorenzana, arzobispo de Toledo. Título de la serie tomado del Catálogo de estampas del Museo del Prado. Probablemente fue grabada entre 1789, fecha en que se le revalidó el título de Grabador de Cámara de S.M. y 1795, en la que hace referencia a esta serie en su Autobiografía (Rod

Charles IV, King of Spain
Taille douce: etching and engraving on laid paper. 1788
Salvador Carmona, Juan Antonio
Charles IV, King of Spain
Taille douce: etching and engraving on laid paper. 1788
Salvador Carmona, Juan Antonio

La estampa de Carlos IV, dibujada y grabada por Juan Antonio Salvador Carmona, hace pareja con la del retrato de Maria Luisa de Borbón (G01709 y G02527). Estampación a partir de 1788 y principios del siglo XIX. Se conocen cuatro estados. El primero, dentro de un marco el retrato de tres cuartos casi frontal, con el sombrero encima de la mesa; a la derecha del marco objetos alegóricos de las artes

Charles IV, Prince of Asturias
Taille douce: etching and engraving on laid paper. 1778
Salvador Carmona, Juan Antonio; Corradi, Viuda de
Charles IV, Prince of Asturias
Taille douce: etching and engraving on laid paper. 1778
Salvador Carmona, Juan Antonio; Corradi, Viuda de

La estampa de Carlos IV, dibujada y grabada por Juan Antonio Salvador Carmona, hace pareja con la del retrato de Maria Luisa de Borbón (G01709 y G02527). Estampada entre 1778 y 1788 fecha en la que sube al trono. Se conocen cuatro estados. El primero, dentro de un marco el retrato de tres cuartos casi frontal, con el sombrero encima de la mesa; a la derecha del marco objetos alegóricos de las arte

Carlos IV, Prince of Asturias
Taille douce: etching and engraving on laid paper. 1778
Salvador Carmona, Juan Antonio; Corradi, Viuda de
Carlos IV, Prince of Asturias
Taille douce: etching and engraving on laid paper. 1778
Salvador Carmona, Juan Antonio; Corradi, Viuda de

La estampa de Carlos IV, dibujada y grabada por Juan Antonio Salvador Carmona, hace pareja con la del retrato de Maria Luisa de Borbón (G01709 y G02527). Estampada entre 1778 y 1788 fecha en la que sube al trono. Se conocen cuatro estados. El primero, dentro de un marco el retrato de tres cuartos casi frontal, con el sombrero encima de la mesa; a la derecha del marco objetos alegóricos de las arte

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