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Saint Jerome
Oil on canvas. First third of the XVII century
Tristán, Luis (Workshop Of)
Saint Jerome
Oil on canvas. First third of the XVII century
Tristán, Luis (Workshop Of)

Representación del santo que dirige su mirada al crucifijo, mientras que distintos elementos iconográficos como la calavera y la trompeta aluden al final de los tiempos.

The Vision of Dionisio Rickel, The Carthusian
Oil on canvas. 1626 - 1632
Carducho, Vicente
The Vision of Dionisio Rickel, The Carthusian
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

The Sense of Taste
Oil on panel. 1618
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
The Sense of Taste
Oil on panel. 1618
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

This set of paintings on the five senses (Sight, Hearing, Smell, Taste, Touch) 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 i

Christ among the Doctors in the Temple
Oil on canvas. Ca. 1560
Veronese, Paolo (Paolo Cagliari)
Christ among the Doctors in the Temple
Oil on canvas. Ca. 1560
Veronese, Paolo (Paolo Cagliari)

This work illustrates the final passage of Christ´s childhood (Luke 2, 41-50) when, at the age of 12, he was taken to Jerusalem by his parents to celebrate Passover. Mary and Joseph lost their son, and later found him in the Temple, arguing with the doctors. Christ´s theological superiority is emphasized by his placement towards the top of the composition´s axis. The doctors look on as he enumerat

The Temptations of Saint Anthony the Abbot
Oil on panel. 1647
Teniers The Younger, David
The Temptations of Saint Anthony the Abbot
Oil on panel. 1647
Teniers The Younger, David

Cupid spurning Riches
Oil on canvas. Ca. 1654
Guercino (Giovanni Francesco Barbieri)
Cupid spurning Riches
Oil on canvas. Ca. 1654
Guercino (Giovanni Francesco Barbieri)

Guido Reni`s painting shows a young Cupid facing the viewer, with the seashore behind him, his left leg bent and left foot resting on a slab of stone. Cupid raises his left hand to a dove and with his right hand holds his bow. The loosened bowstring indicates that he has been disarmed; his remaining arrows lie in a quiver discarded on the ground. The subject appears to be a variation of Love tamed

Cupid
Oil on canvas. 1637 - 1638
Reni, Guido
Cupid
Oil on canvas. 1637 - 1638
Reni, Guido

Guido Reni`s painting shows a young Cupid facing the viewer, with the seashore behind him, his left leg bent and left foot resting on a slab of stone. Cupid raises his left hand to a dove and with his right hand holds his bow. The loosened bowstring indicates that he has been disarmed; his remaining arrows lie in a quiver discarded on the ground. The subject appears to be a variation of Love tamed

Messina returned to Spain
Oil on canvas. 1678
Giordano, Luca
Messina returned to Spain
Oil on canvas. 1678
Giordano, Luca

This work is a magnificent example of works from the middle period of Luca Giordano, the Italian artist known in Spains as Lucas Jordán. It shows the decorative character that predominated in Italian Baroque painting during the second half of the seventeenth century, as well as the chromatic richness and dynamism that made this artist famous. This allegorical scene symbolizes Spain in the f

Allegory of the Education of Philip III
Oil on canvas. Ca. 1590
Tiel, Justus
Allegory of the Education of Philip III
Oil on canvas. Ca. 1590
Tiel, Justus

Philip III (1578-1621) was the son of Philip II and his fourth wife, Anne of Austria. Tiel portrays Philip while he was heir to the throne. He is depicted standing, full-length, and wearing an elaborate suit of Milanese armour and a helmet. Like Hercules at the Crossroads, he must choose between Virtue and Vice, helped by Chronos who pushes Cupid away while bringing the figure of Virtue closer to

The Triumph of Death
Oil on panel. 1562 - 1563
Bruegel The Elder, Pieter
The Triumph of Death
Oil on panel. 1562 - 1563
Bruegel The Elder, Pieter

In this moral work, the triumph of Death over mundane things is symbolized by a large army of skeletons razing the Earth. The background is a barren landscape in which scenes of destruction are still taking place. In the foreground, Death leads his armies from his reddish horse, destroying the world of the living. The latter are led to an enormous coffin with no hope for salvation. All of the soci

The Ages of Woman and Death
Oil on panel. 1541 - 1544
Baldung Grien, Hans
The Ages of Woman and Death
Oil on panel. 1541 - 1544
Baldung Grien, Hans

Death has taken hold of an older woman who is in turn trying to pull along a voluptuous young woman who seems to be resisting. Death holds an hourglass and a broken lance, on the lower tip of which a dead child rests its hand. In the distance behind the dead tree is a desolate landscape with the tower of Hell and devils tormenting people. The only element of hope is the small crucified Christ look

Vanitas
Oil on canvas. 1662
Negri, Pietro
Vanitas
Oil on canvas. 1662
Negri, Pietro

This work entered the Museo del Prado in 1916 titled Penitent Magdalene, along with almost ninety other Italian, French, Flemish and Spanish works from the fifteenth to eighteenth centuries, nearly all with religious subjects. They were part of the bequest of Pablo Bosch y Barrau, a financier who loved and studied art. In 1924 Hermann Voss attributed this painting to Antonio Zanchi (1631-1722), a

Last Moments of Ferdinand IV the Summoned
Oil on canvas. 1860
Casado del Alisal, José
Last Moments of Ferdinand IV the Summoned
Oil on canvas. 1860
Casado del Alisal, José

This painting shows the king Ferdinand IV of Castile on his deathbed, where he is confronted by the apparition of the brothers Juan and Pedro de Carvajal, unjustly executed by order of the monarch one month earlier, and said to have summoned him to appear before God for his crime.

A Philosopher
Oil on panel. 1635
Koninck, Salomon
A Philosopher
Oil on panel. 1635
Koninck, Salomon

This painting enters the Museum as the work of Salomon Koninck, an attribution which remains valid until the 1963 catalogue, when, according to Valdivieso (1973), a proposal by Clotilde Brière-Misme and Horst Gerson cause it to be attributed to Abraham van den Hecken (active 1635-1655).However, despite the harsh modelling of the facial features, the compositional arrangement and, above all,

Family Portrait
Oil on panel. 1583
Key, Adriaen Thomasz.
Family Portrait
Oil on panel. 1583
Key, Adriaen Thomasz.

This group portrait of a middle-class Flemish family, whose identity is now unknown, is one of Key’s finest works in this genre. It has the firm handling evident in his portraits of the 1580s, revealing his outstanding technical ability to convey textures and his mastery of light. Its innovative character is evident when compared with other Flemish family portraits. Key depicts the seven sitters (

Time defeated by Hope and Beauty
Oil on canvas. 1627
Vouet, Simon
Time defeated by Hope and Beauty
Oil on canvas. 1627
Vouet, Simon

Saturn, who represents Time in Roman mythology, has fallen beside his attributes, a scythe and an hourglass. Beauty -possibly a portrait of the painter´s wife, Virginia da Vezzo- olds him by the hear, blandishing a lance over him, while Hope threatens him with a hook, her iconographic symbol, and three cupids pluck the feathers from his wings. Time is defied by Love, which is a reversal of their t

The penitent Saint Jerome
Oil on panel. XVI century
Anonymous
The penitent Saint Jerome
Oil on panel. XVI century
Anonymous

Allegory of the Redemption
Oil on panel. Ca. 1587
Ligozzi, Jacopo
Allegory of the Redemption
Oil on panel. Ca. 1587
Ligozzi, Jacopo

Ligozzi painted numerous allegories on death and the vices, using a macabre and morbid language that included skeletons and hourglasses. In works of this type the artist employed his imagination and profound knowledge of nature to express a deeply-felt and personal religiosity, evident in details such as the serpent, the butterfly wings and the personification of Sin.

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