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This likeness of the Franciscan clergyman is a significant example of elongated bust portraits that are quiet customary in the Western figurative tradition. Such works allow a closer approach to the m [+]
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. The triptych belonged t [+]
This painting is both beautiful in appearance and enigmatic on account of its problems of attribution, its authorship having fluctuated between several artists, all belonging to the aesthetic environm [+]
This is one of the Spanish Renaissance’s most emblematic depictions of a female figure and the best known of Yáñez de la Almedina’s works. Both considerations are due to the visibility t [+]
Margarita was born on 12 July 1651, the daughter of Philip IV and Mariana of Austria. On 12 December 1666, she married Emperor Leopold of Austria and died seven years later in Vienna. The fact that th [+]
Wearing a child´s dress of branched yellow fabric with silver adornments and the sash and cross of the Order of the Saint-Esprit, the future monarch rests his right hand on a small dog that stan [+]
An inventory from 1636 describes this striking portrait of the Infante Ferdinand: A half-length portrait, which the Marquis of Leganés brought back, of the Infante Ferdinand in the dress and ma [+]
This painting was intended to hang to the right of the Equestrian Portrait of Philip IV (P01178) and it depicts that monarch´s first wife, Elizabeth of Bourbon (1602-1644), whom he married in 1615. Th [+]
This portrait presents the lady at full length, dressed in the fashion of the time in a tulle gown with lace details. Goya perfectly captures the translucence of the fabric, through which we see the s [+]
Like its companion (P7906), this piece was acquired by the Museo del Prado with an attribution to Fernández el Labrador (doc. 1629-1657), a painter specialized in depictions of grapes. However, [+]
While not absolutely certain, this is generally considered a self-portrait by Sánchez Coello, a pupil of Anthonis Mor and first court portraitist to Philip II. The artist deploys a detailed tec [+]
Francesco Donato, ambassador to Spain (1504), England (1509) and Florence (1512), maintained Venice’s neutrality in the war between Charles V and Francis I, Holy Roman Emperor, and contributed to the [+]
As part of the Royal Collection, the City Treasurer and his Wife (the so-called Money Changer and his Wife) is one of the few paintings by Marinus in Spain that can be traced to the eighteenth century [+]
This portrait is a full-length likeness of Philip II’s third wife, Queen Isabel de Valois. She wears a black gown with pointed sleeves and a long train that is curled around her body and billows at th [+]
This female effigy was once attributed to the Andalusian artist José Gutiérrez de la Vega (Seville, 1791–Madrid, 1865), of similar style to Murrillo. From a formal point of view, however [+]
One of the artist’s few signed works, Ranc’s depiction of the Prince of Asturias, later Ferdinand VI of Spain, subtly balances the sitter’s youthful grace and the symbolic significance of his role. Th [+]
On 24 February 1882, Alfonso Roswag y Nogier, the son-in-law of Jean Laurent and his partner in the firm J. Laurent y Cía., filed a patent application for a device called "the Graphoscope or re [+]
Free-standing wax sculpture was a particularly important genre in 18th-century Bologna and artists aimed to produce impressively lifelike, almost hyper-realist effects. In order to do so they used rea [+]
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