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Departure from the Inn
Oil on panel. Ca. 1660
Wouwerman, Philips
Departure from the Inn
Oil on panel. Ca. 1660
Wouwerman, Philips

The picture belongs to a group of scenes set inside a stable which Wouwerman began painting in 1655. This cycle is an exception in the painter`s output, which was mainly focused on outdoor scenes. Most of these stable views are based on the same compositional scheme: two-thirds of the panel is occupied by the dark interior of the stable, which opens out on the left towards a landscape painted in m

The Martyrdom of the Roermond Carthusians
Oil on canvas. 1626 - 1632
Carducho, Vicente
The Martyrdom of the Roermond Carthusians
Oil on canvas. 1626 - 1632
Carducho, Vicente

On August 29, 1626, King Philip IV’s painter, Vicente Carducho (ca. 1576-1638), signed a contract for the creation of a cycle of paintings to celebrate the founding of the Carthusian Order by Saint Bruno and its leading members. This colossal undertaking sought to visually narrate numerous episodes from the Carthusians’ history and tradition. It was the most complete commission ever dedicated to t

Path in a Forest
Oil on panel. 1600 - 1625
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
Path in a Forest
Oil on panel. 1600 - 1625
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

Rest on the Flight into Egypt
Oil on panel. 1518 - 1520
Patinir, Joachim
Rest on the Flight into Egypt
Oil on panel. 1518 - 1520
Patinir, Joachim

The Virgin and Child are placed on a hill in the centre of the foreground, isolated from the rest of the figures, as in the Berlin panel (Gemäldegalerie ). The dark forest here begins in the middle ground behind the Virgin, merging with the background landscape to one side of the main figure. The countryside to the right, with the motifs of the farm, the village in the middle ground and the c

Chastity
Oil on canvas. 1770 - 1771
Castillo, José del
Chastity
Oil on canvas. 1770 - 1771
Castillo, José del

Paired with (P07726, P07727 y P07728). These are sketches for cartoons for tapestries intended to adorn the King’s Antechamber known as the “Pieza de Conversación” in the Royal Palace of Madrid. Based on the allegories painted by Corrado Giaquinto for the equivalent room in the Palace at Aranjuez, they are notable for the apocalyptic symbols, such as the dove of the Holy Sprit conveying God

View of the Quay of Alicante
Oil on canvas. Ca. 1785
Sánchez, Mariano Ramón
View of the Quay of Alicante
Oil on canvas. Ca. 1785
Sánchez, Mariano Ramón

Part of a series of 118 views of Spanish ports, bays, islands, arsenals, etc. that Charles IV, King of Spain, commissioned in 1781 when he was Prince of Asturias and that kept the artist busy until 1803.

A Saxon Villager in her Kitchen
Oil on canvas. Ca. 1756
Hutin, Charles-François
A Saxon Villager in her Kitchen
Oil on canvas. Ca. 1756
Hutin, Charles-François

This work and its pair, A Saxon Villager Driving a Barrel with a Wheelbarrow (P2271), may have been gifts sent by the Elector of Saxony, Augustus III, to his daughter, Queen Maria Amalia, and his son-in-law, Charles of Bourbon. This eighteenth-century taste for popular scenes is reflected in several of the monarch’s commissions, such as those for the tapestries of José del Castillo, Bayeu a

Rocky Landscape
Oil on canvas. 1745 - 1750
Vernet, Claude-Joseph
Rocky Landscape
Oil on canvas. 1745 - 1750
Vernet, Claude-Joseph

Vernet, who studied and lived in Rome between 1734 and 1753, offers a pre-Romantic vision of the imposing landscape near the city of Caprarola, located in the Cimini Hills in Lazio. The activities of the small figures, one of them fishing, convey the tranquillity of rural life. In 1814 the canvas was in the “green fireplace room” in the Royal Palace in Madrid.

Noli me tangere
Oil on panel. Ca. 1570
Vallejo Cósida, Jerónimo Vicente
Noli me tangere
Oil on panel. Ca. 1570
Vallejo Cósida, Jerónimo Vicente

This panel depicts the moment when the risen Christ appears to Mary Magdalen. Traditionally considered to be a Florentine Renaissance work, the painting is now attributed to Vallejo Cósida, one of the most innovative artists of the Aragonese school. In addition, Cósida was an outstanding draughtsman who also produced illuminated manuscripts, which helps explain the delicacy and preci

Vertumnus and Pomona
Oil on panel. 1636 - 1637
Rubens, Peter Paul
Vertumnus and Pomona
Oil on panel. 1636 - 1637
Rubens, Peter Paul

According to Ovid´s Metamorphosis, Vertumnus had to disguise himself as a woman in order to gain Pomona´s love. Rubens chose to depict the moment when, having removed his disguise, Vertumnus declares his love to the attractive young woman. She holds a sickle in her right hand, which alludes to her condition as a deity related to the fruits of nature. That is also why the scene is set in a garden.

Fisherfolk
Oil on canvas. 1784
Maella, Mariano Salvador
Fisherfolk
Oil on canvas. 1784
Maella, Mariano Salvador

At a small Mediterranean harbour with a fortress in the background, a prosperous gentleman examines the fish a beautiful fisherwoman offers him, while an elderly woman seems to have greater expectations of this promising transaction. This is a sketch for the tapestry cartoon executed by Zacarías González Velázquez for the Pieza de Damas at the Palace of El Pardo.

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

According to Ovid (Metamorphosis, book V), in order to avoid her husband Jupiter´s infidelities, the goddess, Juno, converted the nymph, Io, into a lamb and called on Argos, the shepherd, to look after her. Jupiter sent Mercury, the gods´ messenger, to kill Argos and recover the nymph. Rubens depicts Mercury without his traditional attributes. He only carries his sword and the flute with which he

Ceres in the House of Hecuba
Oil on copperplate. Ca. 1605
Elsheimer, Adam (And Workshop)
Ceres in the House of Hecuba
Oil on copperplate. Ca. 1605
Elsheimer, Adam (And Workshop)

According to Ovid’s Metamorphoses, after several days’s searching for her daughter Proserpina, who had been abducted by Pluto, Ceres stopped at the house of Hecuba. There, the goddess was offered a jug of water, from which she drank greedily, provoking the laughter of the young Stellio, whom Ceres turned into a tiny lizard. This painting belonged to Rubens, a friend and admirer of Elsheimer.

The Pavilion of Charles V in the Gardens of the Alcázar of Seville
Oil on panel. 1868
Madrazo y Garreta, Raimundo de
The Pavilion of Charles V in the Gardens of the Alcázar of Seville
Oil on panel. 1868
Madrazo y Garreta, Raimundo de

In this popular scene, two people, one dressed in eighteenth century fashion, with a cape and two-cornered hat, are depicted in front of the Pavilion of Carlos V in the Gardens of the Alcázar of Seville. The presence of the man deliberately recalls the small genre scenes made popular by Madrazo’s brother-in-law, Mariano Fortuny, to whom this painting may be seen as a playful tribute.This is

Triumph of Cybele
Oil on copperplate. XVII century
Lint, Pieter Van
Triumph of Cybele
Oil on copperplate. XVII century
Lint, Pieter Van

Dogs on a Leash
Oil on canvas. 1775
Goya y Lucientes, Francisco de
Dogs on a Leash
Oil on canvas. 1775
Goya y Lucientes, Francisco de

A tapestry cartoon with two chained dogs, two shotguns, a powder horn, and other hunting implements on a small hill, with a landscape in the background. The resulting tapestry was intended to hang over one of the doors of the dining room of the Prince and Princess of Asturias (the future Carlos IV and his wife, Maria Luis de Parma) at the Monastery of El Escorial. It´s intended location expl

Summer
Oil on canvas. 1805 - 1806
Maella, Mariano Salvador
Summer
Oil on canvas. 1805 - 1806
Maella, Mariano Salvador

Disguised as a peasant woman accompanied by reapers, the Earth goddess, Ceres, is shown with her attributes, the torch and a sheaf of corn. The lightning in the sky may allude to Zeus, her brother and lover by whom she bore a daughter, Persephone, who was abducted by Hades and spent part of the year in the Underworld and the other part with her mother. This myth gave rise to the Seasons.

The Reapers of The Promised Land
Oil on canvas. 1668
Escalante, Juan Antonio de Frías y
The Reapers of The Promised Land
Oil on canvas. 1668
Escalante, Juan Antonio de Frías y

This is a part of a series of eighteen canvases of biblical themes related in some way to the Eucharist that Escalante painted between 1667 and 1668 for the sacristy of the Merced Calzada in Madrid. They are cited there with great praise by all classical writers. The series was completed by a canvas by Montero de Rojas, Passing the River Jordan with the Ark of the Covenant (P4697).Palomino, in quo

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