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Armida and Rinaldo
Oil on canvas. Ca. 1697
Giordano, Luca
Armida and Rinaldo
Oil on canvas. Ca. 1697
Giordano, Luca

Ubaldo y Carlo lograron penetrar en el palacio encantado de Armida, donde se encontraba ella con Reinaldo, entregados a sus juegos amatorios. Reinaldo, apoyado sobre la joven, contempla su rostro reflejado en un espejo. Dos figuras asoman en el bosque para urgirle a que abandone su retiro amoroso y regresar al combate.

A Blind Hurdy-Gurdy Player
Oil on canvas. 1620 - 1630
la Tour, Georges de
A Blind Hurdy-Gurdy Player
Oil on canvas. 1620 - 1630
la Tour, Georges de

The blind man appears in profile playing his hurdy-gurdy, a stringed instrument with which he earns his living. Despite his miserable state, La Tour depicts him with considerable dignity, dressed in a cape that hides a chestnut vest and salmon-colored trousers. His face shows the mark of time, with tanned skin, deep wrinkles and an unkempt beard. His strong hands seem out of place for a musician b

Table of the Seven Deadly Sins
Oil on poplar panel. 1505 - 1510
Bosch, Hieronymus
Table of the Seven Deadly Sins
Oil on poplar panel. 1505 - 1510
Bosch, Hieronymus

Two banderoles, one above and the other below the central circle, contain Latin texts from Deuteronomy (32: 28-29 and 20), warning against the wages of sin. The upper banderole, between the tondos of Death and the Last Judgment, reads: Gens absq[ue] [con]silio e[st] et sine prudentia // deutro[m]y 32 [um//] utina[m] sapere[n]t [et] i[n]telligere[n]t ac novissi[m]a p[ro]videre[n]t (For they are a n

The Worship of Venus
Oil on canvas. 1518
Titian (Tiziano Vecellio)
The Worship of Venus
Oil on canvas. 1518
Titian (Tiziano Vecellio)

Titian´s first contribution to the Camerino d´Alabastro was prompted by the death in October 1517 of Fra Bartolommeo from whom Alfonso d´Este had commissioned a Worship of Venus one year previously and for which Fra Bartolommeo submitted a sketch. In April 1518, Titian received instructions on the subject matter and format of the work along with a drawing, probably that by Fra Bartolommeo. In Octo

Self-portrait
Oil on canvas. 1910
Simonet Lombardo, Enrique
Self-portrait
Oil on canvas. 1910
Simonet Lombardo, Enrique

Painted shortly before he permanently settled in Madrid, this self-portrait shows Simonet engaged in painting. Visible in the background is the portrait of his father. The figure of the artist and the portrait are reversed due to the use of a mirror when painting the work. The unfinished lower right corner reveals the artist’s technique.

Portrait of a Dwarf
Oil on canvas. Ca. 1626
Hamen y León, Juan Van Der
Portrait of a Dwarf
Oil on canvas. Ca. 1626
Hamen y León, Juan Van Der

A sumptuously dressed and armed dwarf holds a ruler´s staff, an attribute of power that cannot have corresponded to his status. He was probably one of the court buffoons, who were showered with presents and dressed in ostentatious luxury. Since the sixteenth century, portraits of these figures were quite customary, although it was Velázquez who explored this genre with singular mastery. The

Diana and Actaeon
Oil on canvas. XVII century
Martínez del Mazo, Juan Bautista
Diana and Actaeon
Oil on canvas. XVII century
Martínez del Mazo, Juan Bautista

After studying the canvas, the pigments, and the technique of this work as well as those of Diana and Callisto (P424), we can be sure that these paintings are 17th-century Spanish copies. This provides important insight into the Madrid style during Carreño and Rizi’s generation. The originals of these paintings were some of Titian’s masterpieces from his final years. They belonged to the ro

The Toilet of Venus
Oil on canvas. 1635 - 1640
Albani, Francesco
The Toilet of Venus
Oil on canvas. 1635 - 1640
Albani, Francesco

Francesco Albani was a much favoured pupil of Annibale Carracci. His success was partially due to mythological paintings such as The toilet of Venus (P1) and The judgement of Paris (P2), whose refined and lyrical view of nature helped disseminate the classical ideals of the Carracci`s landscapes. The toilet of Venus, c. 1635-40, is one of many versions Albani made of this subject (the most famous

Self-portrait
Oil on canvas. Ca. 1885
Franco Salinas, Luis
Self-portrait
Oil on canvas. Ca. 1885
Franco Salinas, Luis

Sobre un fondo semiabocetado, manchado con evidentes pinceladas, y con una cierta enmarcación a modo de telón de fondo, aparece la figura del pintor, de medio cuerpo, ligeramente girado hacia la izquierda y con el rostro de frente vuelto hacia el espectador o hacia un imaginario espejo que le impondría una innegable rigidez de pose profesional. Con barba, bien vestido, con indudable intención de r

Isabel Álvarez Montes, 2nd Marchioness of Valderas and 2nd Duchess of Castro Enríquez
Oil on canvas. 1868
Madrazo y Kuntz, Federico de
Isabel Álvarez Montes, 2nd Marchioness of Valderas and 2nd Duchess of Castro Enríquez
Oil on canvas. 1868
Madrazo y Kuntz, Federico de

The numerous formal portraits painted by Federico over the course of his career -large-format works generally intended to hang in the capacious homes of Elizabethan aristocrats- include some of his most spectacular canvases. The present splendid work from the Museo del Prado dates from the artist’s fully mature period and is marked by a freer touch, a deep and rich use of paint and an attentively

Charles II
Oil on canvas. 1673
Carreño de Miranda, Juan
Charles II
Oil on canvas. 1673
Carreño de Miranda, Juan

Charles II stands in the Alcázar Palace’s Hall of Mirrors, alongside a porphyry table held up by two of Mateo Bonuccelli’s gilded bronze lions. The monarch is dressed in black silk, as was cutomary in royal portraits of the Spanish branch of the Habsburg dynasty since the time of Philip II. He wears the Golden Fleece on a necklace and has a sword on his belt. He holds a folded report in his

Charles II as a child
Oil on canvas. Ca. 1675
Carreño de Miranda, Juan (Attributed To)
Charles II as a child
Oil on canvas. Ca. 1675
Carreño de Miranda, Juan (Attributed To)

Charles II stands in the Alcázar Palace’s Hall of Mirrors alongside a porphyry table held up by two of Mateo Bonuccelli’s gilded bronze lions. The monarch is dressed in black silk, as was customary in royal portraits of the Spanish branch of the Habsburg dynasty since the time of Philip II. He wears the Golden Fleece on a necklace and has a sword on his belt. He holds a folded report in his

The Immaculate Conception
Black chalk, Grey-brown wash on yellow laid paper. Ca. 1790
Maella, Mariano Salvador
The Immaculate Conception
Black chalk, Grey-brown wash on yellow laid paper. Ca. 1790
Maella, Mariano Salvador

En el cantro sobre nubes y el creciente de la luna, la Inmaculada con las manos cruzadas sobre el pecho, alza los ojos al cielo hacia Dios Padre, que vuela de frente, flanqueado simétricamente por dos ángeles mancebos. En el ángulo inferior izquierdo, san Miguel alancea al diablo, serpiente alada que lleva la manzana en la boca. A la derecha, ángeles con los atributos de la letanía. La parte super

The Immaculate Conception
Black chalk on yellow laid paper. XVIII century
Ferro, Gregorio
The Immaculate Conception
Black chalk on yellow laid paper. XVIII century
Ferro, Gregorio

Dibujo preparatorio en el que se representa una Inmaculada Concepción de pie sobre el creciente de luna, con los brazos abiertos y la cabeza alzada. Sobre ella, sentado en una nube, Dios Padre la señala con el cetro, que sostiene en la mano izquierda. En el nivel inferior, a la derecha de la composición, San Miguel alancea al demonio en forma de serpiente, a los pies de la Virgen. Ángeles niños, a

Torso of Aphrodite
Marble. 50 - 75
Roman Sculptor
Torso of Aphrodite
Marble. 50 - 75
Roman Sculptor

In order to emphasise Aphrodite’s nudity and arouse interest Hellenistic artists rarely depicted her entirely without clothes. Here the goddess’s mantle is held up between her legs. This sculpture follows a model of the second century BC in which Aphrodite looked into a mirror held in her left hand while covering her pubis with her right.

Saint Stephen in the Synagogue
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1932
Guglielmi, Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Saint Stephen in the Synagogue
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1932
Guglielmi, Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Augusto Guglielmi (activo en Madrid entre 1829 y 1837) que reproduce el óleo de Juan de Juanes conservado en el Museo Nacional del Prado (P00838), pintado para el retablo de la iglesia de san Esteban en Valencia e ingresó en el museo hacia 1800, bajo el reinado de Carlos IV, junto con el resto de tablas (P00838, P00839, P00840, P00841, P0842 y P00846).Las virtudes que adornan

The Worship to Venus
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Feillet, Pierre Jacques; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Worship to Venus
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Feillet, Pierre Jacques; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Pierre Jacques Feillet (1794-1855) que reproduce el óleo de Tiziano conservado en el Museo Nacional del Prado (P00419). El título que aparece en la estampa es Ofrenda á la Fecundidad. Esta estampa se entregaba con el cuadernillo CLIV acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección

Saint Stephen in the Synagogue
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1932
Guglielmi, Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Saint Stephen in the Synagogue
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1932
Guglielmi, Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Augusto Guglielmi (activo en Madrid entre 1829 y 1837) que reproduce el óleo de Juan de Juanes conservado en el Museo Nacional del Prado (P00838), pintado para el retablo de la iglesia de san Esteban en Valencia, y que ingresó en el museo hacia 1800, bajo el reinado de Carlos IV, junto con el resto de tablas (P00838, P00839, P00840, P00841, P0842 y P00846).Las virtudes que ado

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