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It has often been stated that this painting is part of a series of four, all now in the Prado, but that is probably not the case. The dimensions of all four paintings (P1619, P1620, P1621, P1622) are similar, but their provenance is not. This, and Table with Cloth, Salt Cellar, Gilt Standing Cup, Pie, Jug, Porcelain Plate with Olives and Cooked Fowl (P1622), are first documented when they were inv
A male figure smokes and drinks, directing an expressive glace at the viewer. Behind him, a companion is inside a tavern filled with vats, basins and barrels. The protagonist has been identified as a soldier on leave after a campaign, but this is also a representation of everyday life in Flanders. Illustrations of people enjoying the pleasures of alcohol or tobacco were quite customary in the work
As frequently occurred in the cycle on the History of Ancient Rome commissioned for the decoration of the Buen Retiro Palace, Andrea di Lione drew elements of his painting from the abundant Antiquarian literature that began to be published in the middle of the sixteenth century. Today we can trace this procedure with considerable confidence. The starting point for the present work was Tabula III,
This drawing depicts the story of the nymphs Florilla and Melissa, twin daughters of Heaven and the Earth, lovers of music (Florilla) and flowers (Melissa), the honeymaker. The young nymphs were respectively turned into flowers and a swarm of bees to punish Apollo, who had fallen in love with Melissa -shown here fainting in the act of metamorphosis- to such a degree that he was neglecting his job
La composición enmarcada a tinta presenta a la izquierda a Ariadna sentada; a la derecha, Baco la corona en pie y un fauno arrodillado vierte el vino en un ánfora. Al fondo, Sileno, transportado por sus compañeros. Existen varias composiciones de Conca de este tema, conocidas por lienzos y dibujos, fechadas hacia 1715. El dibujo del Prado presenta una escena diferente, pero relacionada estilística
A preparatory drawing for the aquatint, Capricho 39, As Far Back as his Grandfather (G02127), this is one of twenty-six pen drawings from the Dreams series that constitutes the basis for the Caprichos. It is taken from a satirical drawing in the Madrid Album that dates from 1794-1795 and is thus earlier than the graphic project for the Caprichos. Unrelated to the engraving’s purpose, the India-ink
A research study published by Javier González Santos has revealed that the 19th-century inventories of the Museo del Prado accurately cited the subject of this drawing as alluding to the Holy Cross and the cave of Covadonga. In fact, this painting depicts the Apparition of the Victory Cross to the foot soldier Pelagius of Asturias in the Battle of Covadonga and is directly related to the en
Nactanebo (380-362 BC), first monarch of the XXX dynasty. The five royal names appear in the right column of the dorsal pillar. Horus name (Horus of the strong arm). The King of the Upper and the Lower Egypt (sic). Nebty, “two ladies” name (He who beautifies the two lands). Golden Horus name (He who does what the gods love). Throne name, praenomen, preceded by the title of King of Upper and Lower
Del conjunto de estampas de reproducción que conserva el Museo del Prado merecen ser destacadas las incluidas en el Álbum por pinturas de Velázquez. Sirvieron para dar a conocer al público algunas de las primeras obras españolas que habían llegado a Inglaterra fruto de la intensa actividad de los mercaderes de arte británicos, activos en España desde el último cuarto del siglo XVIII. En la mayor p
