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Earthly Paradise
Oil on canvas. XVI century
Bassano (Workshop Of)
Earthly Paradise
Oil on canvas. XVI century
Bassano (Workshop Of)

This is a painting of rather mediocre quality for which the artists drew on several ricordi from the stock at the family bottega. To cite an example, the horse and pair of dogs on the right specifically repeat the ones that appear in a similar position in Adam Being Reprimanded (P21). This juxtaposition of standardised models explains the obvious problems of scale in the depiction of the animals,

Father Cabanillas
Oil on canvas. 1689 - 1693
Coello, Claudio
Father Cabanillas
Oil on canvas. 1689 - 1693
Coello, Claudio

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 model’s essential features, reducing but not eliminating accessory elements such as his clothing and a summary depiction of the surrounding space. Rather than overly limiting information on the protago

Joseph and the Wife of Putiphar
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti
Joseph and the Wife of Putiphar
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti

Joseph is a handsome and virtuous slave falsely accused of rape by his master´s wife, whose advances he has rejected. He is imprisoned, but eventually raised to the highest office by Pharaoh (Exodus: 39). Joseph and the Wife of Putiphar and Susannah and the Elders (P386) can be understood as parables of righteousness threatened and preserved, but here -as was usual for artists of the Renaissance a

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

Smokers and Drinkers
Oil on panel. 1652
Teniers The Younger, David
Smokers and Drinkers
Oil on panel. 1652
Teniers The Younger, David

Three figures enjoy tobacco in an expressive manner in the foreground while an onlooker leans through the window. Around a table in the background, another group of figures drinks or plays cards. This is an example of scenes inside taverns with smokers, drinkers and players, which Teniers made during the sixteen thirties. He began with figures by his teacher, Adriaen Brouwer (1605/1606-1638), whic

Don Quixote Dubbed a Knight
Oil on canvas. Ca. 1720
Iriarte, Valero
Don Quixote Dubbed a Knight
Oil on canvas. Ca. 1720
Iriarte, Valero

The scene, with a distinctly genre flavour, depicts a passage from Don Quixote by Miguel de Cervantes (1547-1616). The main figure, wearing armour, kneels awaiting to be dubbed a knight; the amusing folk setting around him is far removed from the ceremonial splendour implied by such an event.

Hawking Party by a River
Oil on canvas. 1655 - 1658
Wouwerman, Philips -Painter- (And Workshop)
Hawking Party by a River
Oil on canvas. 1655 - 1658
Wouwerman, Philips -Painter- (And Workshop)

Here the main scene takes place in the foreground, where a group of distinguished huntsmen ride down a narrow path along a river bank crowded with popular figures including horse-riders, wayfarers, bathers and beggars. Schumacher (2006) considers it to have been produced in Wouwerman`s studio. Recent restoration, however, has revealed figures of such quality that they must indeed be attributed to

Penitent Magdalen
Oil on canvas. 1645 - 1649
Guercino (Giovanni Francesco Barbieri)
Penitent Magdalen
Oil on canvas. 1645 - 1649
Guercino (Giovanni Francesco Barbieri)

María Magdalena es una de las santas más célebres del cristianismo, por haber conocido a Cristo y porque representó el paradigma de la mujer arrepentida. En su etapa de vida mundana suele caracterizarse con ricas vestiduras. Cuando se muestra como mujer arrepentida -como en esta pintura de Guercino- aparece semidesnuda y con largos cabellos, adorando el crucifijo. Otros dos de sus atributos más re

Portrait of a Knight of the Order of Santiago
Oil on panel. XVI century
González, Bartolomé
Portrait of a Knight of the Order of Santiago
Oil on panel. XVI century
González, Bartolomé

Ha figurado como obra de Alonso Sánchez Coello. Repite el retrato, fechado en 1558, del Museo de Budapest, que se atribuye a Antonio Moro. Para su identificación se han barajado diversos nombres, ninguno de ellos de manera convincente.

A Sybil
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y
A Sybil
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y

The first known reference to this work dates from 1746, when an inventory of paintings at the La Granja Palace was drawn up. There, it is attributed to Velázquez and identified as a likeness of his wife, Juana, whose father was the painter, Francisco Pacheco. It also specifies that she is holding a board. The linking of anonymous portraits to the lives of their authors was frequent in the 1

Saint Francis of Assisi receiving the Stigmata
Oil on panel. Ca. 1510
Master Of Hoogstraten
Saint Francis of Assisi receiving the Stigmata
Oil on panel. Ca. 1510
Master Of Hoogstraten

The painting is a copy with variations of an original by Jan van Eyck (Turin Museum). It is vertical in format instead of horizontal and has a landscape adapted to the taste of the period. The lower horizon line allows the artist to represent a town on the left and, behind it, some rocks which evoke Patinir’s works.

Philip V
Oil on canvas. 1718 - 1722
Meléndez, Miguel Jacinto
Philip V
Oil on canvas. 1718 - 1722
Meléndez, Miguel Jacinto

This portrait of Philip V is based on a prototype devised by Meléndez in the 1720s. It combines a French model with the use of broad, zig-zagging brushstrokes typical of the Madrid Baroque style. The monarch´s notably idealised face is extremely delicately painted, with the paler tone of the broad brow suggesting the illumination of intelligence. Small highlights on the nose and lips emphas

The Kitchen
Oil on panel. 1643
Teniers The Younger, David
The Kitchen
Oil on panel. 1643
Teniers The Younger, David

This is a singular example of David Teniers´ indoor scenes. The kitchen or tavern utensils so common in his other works are completed here with a magnificent show of diverse fruit and vegetables. This converts the right part of the composition into a still life. On the left, a character shells mussels, a traditional foodstuff in the Low Countries, while another group works beside the fireplace. Th

Mary, Lady Van Dyck
Oil on canvas. Ca. 1640
Dyck, Anthony Van
Mary, Lady Van Dyck
Oil on canvas. Ca. 1640
Dyck, Anthony Van

In 1640, Van Dyck married Mary Ruthven in England. This lady of Scottish origin died in 1645. He portrayed his wife with her hair pulled back and an oak-leaf headdress alluding to her husband´s name, which means “oak” or “holm oak” in Dutch. She wears a shiny blue dress with a large décolleté, a pearl necklace and a bracelet with which she plays before the viewer in a gesture of clea

Rustic Concert
Oil on panel. 1638
Ostade, Adriaen Van
Rustic Concert
Oil on panel. 1638
Ostade, Adriaen Van

This work belongs to the so-called peasant interiors, one of the new genres of painting that emerged and developed in Flanders and Holland in the early seventeenth century. In Houbraken and in early inventories they are described as een boertje, (a little peasant), or as toeback rookerchen, (tobacco smokers). The consolidation and appreciation of this genre was fostered by the satirical and morali

The penitent Saint Jerome
Oil on canvas. 1652
Ribera, Jusepe de, lo Spagnoletto
The penitent Saint Jerome
Oil on canvas. 1652
Ribera, Jusepe de, lo Spagnoletto

Emerging from a dark background, a half-length image of a man appears in the close foreground, his right shoulder and arm bare, his hair white and long, his features aged. He holds a wooden cross in his left hand and with his right he strikes his chest with a stone. The cross identifies him as a saint; his nakedness and dishevelled appearance indicate he is a hermit or a penitent; the stone with w

Landscape with Shepherds
Oil on panel. Early Segunda mitad del siglo XVII - XVIII century
Boudewijns, Adriaen Fransz
Landscape with Shepherds
Oil on panel. Early Segunda mitad del siglo XVII - XVIII century
Boudewijns, Adriaen Fransz

Paisaje con grupos de pastores y caminantes; a la derecha, un río o laguna con barcas y pescadores; fondo montañoso con vista de un pueblo fortificado. Las figuras de esta obra (así como las de las obras P1371 a P1379) se atribuyen a Peeter Bout.

River Landscape with Riders and a Tower
Oil on canvas. XVII century
Anonymous
River Landscape with Riders and a Tower
Oil on canvas. XVII century
Anonymous

On entering the Museum this painting was inventoried as a product of the Sevillian school, though the 1876 catalogue lists it as a work executed in the style of Jan Both. Valdivieso (1973) considers it to be an eighteenth-century Italian work, while Barghahn (1986) identifies it as one of the landscapes in the Palace of the Buen Retiro inventory, though in fact neither the measurements nor the des

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