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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
In keeping with his interest in Queen Juana “la Loca,” Pradilla painted this painting of the queen´s confinement in Tordesillas Castle, where she spent the rest of her life alongside the cadaver of her husband. Juana sits besides a window in a palace room with a Gothic fireplace. Lost in thought, she gazes at the viewer without noticing her daughter´s play. A lady in waiting and a servent on the r
On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight months to make the paintings, which had to portray the scenes and episodes specified by the prior of the monastery. Despite the agreement reached in the contract, the paintings were not completed until De
Large series of paintings for religious orders were painted throughout the seventeenth century. They include free-standing figures of saints and scenes with more complex compositions. That is the case of the present work, which belongs to a series of saints made around 1657 by Valdés Leal for the Sacristy of the Convent of San Jerónimo in Seville. The series was scattered in the nine
Holding a letter in his hand, Juan Bautista de Muguiro sits beside his desk, on which an inkwell is visible. This representation exalts his stature as a banker taking care of his business. An inscription mentions that the painting was made by Goya in May, 1827, in Bordeaux, when he was eighty-one. As the painter died in April 1828, this may well be his last known work. There are some differences w
On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight months to make the paintings, which had to portray the scenes and episodes specified by the prior of the monastery. Despite the agreement reached in the contract, the paintings were not completed until De
Figura de más de tres cuartos, mirando al espectador, con un cortinaje a la derecha y una columna truncada al fondo, está en pie ante una mesa, en primer plano, sobre la que apoya una escribanía de plata, libros y un memorial en el que se lee: "Ex.mo Sr / Froylan / de Bergan / zo / Suppl.a". El modelo sostiene en sus manos otro memorial: "Exmo. S. / Supca. V. E. se dign[e] / concederle / Mariano /
The family of this celebrated Madrid artist was originally French, and his own aesthetic roots lie outside Spain. In this self-portrait we see him sitting in a chair with cabriole legs, dressed in sumptuous elegance. He is wearing clothes similar to those worn by the majos of Madrid (those somewhat bohemian dandies-with-attitude of the late eighteenth and early nineteenth century), but more refine
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, and one which played a decisive role in the rediscovery of the painter’s work. However, when it was first recorded in the collection of Isabel Farnesio in 1746 it was attributed to Lucas de Olanda (
In this painting, two men wearing tunics kneel next to a rocky crag, past which, in the distance, a stormy landscape opens up. The elder of the two men bends over a sheaf of papers on which he writes, using the surface of a rock as a desk. The other man points his right index finger to a page, while his other hand and his feverish gaze are directed heavenward. The younger of the two is the evangel
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 Prado Tax Collector and his Wife (so-called Money Changer and his Wife) dated 1539 and gifted to the museum in 1934 is the second version of this subject recorded in Spain. Thanks to the recent research by Manuel Parada, it can now be identified as the earliest documented work by Marinus. The painting was acquired by Pedro Dávila y Zúñiga (1498-1567), 1st Marquis of Las Na
This work is part of the series of six panels of monkey scenes in the Museo Nacional del Prado (from P01805 to P01810). The subject matter has been associated with human foolishness since the Middle Ages and is drawn from the oeuvre of Pieter Brueghel the Elder and Peter van der Borcht. Teniers successfully captures the ambivalence of mankind in its animal nature. The teacher is punishing one of i
Availing himself of trompe l’oeil, the painter portrays himself at the age of 26 in an oval-shaped painting placed on a table surrounded by various items alluding to the theory and practice of the arts: a palette with brushes, a plaster cast of a female torso, several scrolls, an inkwell, books... Particularly noteworthy, because it is open, is the Treatise on Pictorial Anatomy –whose manuscript i
This refined portrait is the only one known to date of the Marquis of Esquilache (1699-1785). He accompanied Charles III to Madrid and was appointed Minister of the Treasury. The inkwell and staff of office allude to his many Neapolitan titles, while the letter destined Alla sua maestà delle due Sicilie points to his links with the King.
Saint Jerome is depicted meditating on the Last Judgment, as indicated by the print in the book, which reproduces a model by Albrecht Dürer. He is surrounded by various vanitas, such as the skull resting on some books and the stone with which he struck his chest. A pen and inkwell indicate his dedication to writing. Jerome was one of the most popular Saints in baroque Spain. His iconography m
In The Interior Castle Saint Teresa wrote that: "The Lord represented himself to her, just after she had received Communion, in the form of shining splendour, beauty, and majesty, as he was after his resurrection, and told her that now it was time that she consider as her own what belonged to him and that he would take care of what was hers." Together with its pair (P8153), this canvas is an inter
An in-depth study of Joaquín Inza is yet to be conducted that would allow us to gauge his role and importance in the panorama of Spanish art in the second half of the eighteenth century. Inza is known for his portraits of the royal family and of aristocrats and intellectuals from the period, and is now regarded as an estimable and discrete painter with a precise, austere style, although som
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