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Marriage Contract and Country Dance
Oil on canvas. Ca. 1711
Watteau, Jean-Antoine
Marriage Contract and Country Dance
Oil on canvas. Ca. 1711
Watteau, Jean-Antoine

Known as a painter of “fêtes galantes”, Watteau combines a depiction of a marriage ceremony with a cheerful country dance. His composition recalls numerous scenes in Flemish painting, as does the natural setting.

The Painter's Family
Oil on canvas. 1621 - 1622
Jordaens, Jacques
The Painter's Family
Oil on canvas. 1621 - 1622
Jordaens, Jacques

This attractive group portrait, one of the most interesting of the 17th-century Dutch school on account of its bourgeois spirit with aristocratic leanings, is an extraordinary skilful depiction of the artist´s close family. Jordaens portrays himself with his wife Catharina van Noort and their first child Elizabeth, born on 26 June 1617, whose age allows us to date the work approximately. Cat

The Garden of Earthly Delights Triptych
Grisaille, Oil on oak panel. 1490 - 1500
Bosch, Hieronymus
The Garden of Earthly Delights Triptych
Grisaille, Oil on oak panel. 1490 - 1500
Bosch, Hieronymus

The Garden of Earthly Delights is Bosch’s most complex and enigmatic creation. For Falkenburg the overall theme of The Garden of Earthly Delights is the fate of humanity, as in The Haywain (P02052), although Bosch visualizes this concept very differently and in a much more explicit manner in the centre panel of that triptych than in The Garden of Earthly Delights. In order to analyse the work’s me

The Sense of Hearing
Oil on panel. 1617 - 1618
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
The Sense of Hearing
Oil on panel. 1617 - 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

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

Orpheus descends into the Underworld to recover his wife, Eurydice, who died after being bitten by a serpent. Pluto and Proserpina, the god and goddess of the underworld, are so moved by the music of his lyre that they accede to his request. The only condition they impose is that he contains his desire and not look at his beloved until they have both fully departed the underworld. On the basis of

Penitent Magdalen
Oil on canvas. XVII century
Murillo, Bartolomé Esteban (Copy)
Penitent Magdalen
Oil on canvas. XVII century
Murillo, Bartolomé Esteban (Copy)

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

Representación alegórica del triunfo del Amor que lleva a Júpiter con los brazos atados en una suntuosa carroza tirada por cuatro caballos blancos. Entre las figuras que acompañan a la carroza, a la derecha de la composición, aparece Apolo portando una cítara como atributo de identificación del dios, y tras él un músico tocando una flauta de Pan.

The Assumption and Coronation of the Virgin
Oil on panel. 1602 - 1603
Reni, Guido
The Assumption and Coronation of the Virgin
Oil on panel. 1602 - 1603
Reni, Guido

En el centro, la Virgen coronada por dos angelitos, rodeada por la corte celestial. Abajo, ángeles músicos en las esquinas. El tema, para el cual se conocen algunos dibujos, fue muy trabajado por Guido en sus primeros años, con una cierta influencia de Aníbal Carracci en las formas torneadas de sus ángeles y en una monumentalidad grandiosa, que no es habitual en sus composiciones. Se conocen tres

The Triumph of David
Oil on canvas. Ca. 1630
Poussin, Nicolas
The Triumph of David
Oil on canvas. Ca. 1630
Poussin, Nicolas

In an architectural setting, a winged Victory crowns David with a laurel wreath. The latter holds his sword with one hand and looks directly at Goliath´s decapitated head, which rests on some pieces of armor. Three putti complete the group. One of them plays an instrument while another hands Victory the royal crown destined for David. This image alludes to a passage from the Old Testament (Samuel

The Concert
Oil on canvas. Ca. 1640
Falcone, Aniello
The Concert
Oil on canvas. Ca. 1640
Falcone, Aniello

Falcone painted the figures in this painting; the Neapolitan specialist Luca Forte probably painted the vase of flowers on the left. It looks like a portrait gallery of real people, one of whom -the bearded man on the right- appears in other paintings by Falcone. The painting comes from the collection of the Duke of Medina de las Torres, viceroy of Naples between 1637 and 1644.

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

Dance on the Banks of the Manzanares
Oil on canvas. XVIII century
Bayeu y Subías, Ramón
Dance on the Banks of the Manzanares
Oil on canvas. XVIII century
Bayeu y Subías, Ramón

The Virgin and Child with two Angels
Oil on panel. 1480 - 1490
Memling, Hans
The Virgin and Child with two Angels
Oil on panel. 1480 - 1490
Memling, Hans

The Virgin appears seated in a walled garden, an allusion to the hortus conclusus or enclosed garden, which symbolizes her perpetual virginity. In her arms she holds the Christ Child, who takes an apple from an angel´s hand, a clear allusion to the redemption of the original sin. On the other side, a second angel plays a viola of arc. The composition derives from a model by Rogier van der Weyden a

Country Celebration
Oil on canvas. 1647
Teniers The Younger, David
Country Celebration
Oil on canvas. 1647
Teniers The Younger, David

A group of local people dance to the sound of bagpipes and a hurdy-gurdy in honour of a bride, who presides at the table in the background, surrounded by what seem to be older relatives or guests. The distant background, in which a tall-spired church can be made out, is populated by a group of distinguished personages, one of whom could be Archduke Leopold Wilhelm of Austria, governor of the Spani

Saint Francis of Assisi in Ecstasy
Oil on canvas. 1627 - 1632
Dyck, Anthony Van
Saint Francis of Assisi in Ecstasy
Oil on canvas. 1627 - 1632
Dyck, Anthony Van

The saint is depicted leaning on a boulder, in a state of mystical ecstasy following his meditation on death. That meditation is symbolized by the skull, cross and book. He is comforted by a musician angel, as is told in the book The Little Flowers of Saint Francis (Part II, second consideration). This work is from the artist´s second period in Antwerp, where he lived from 1627 to 1632 before leav

Marine
Oil on canvas. 1912
López Castrillo, Flora
Marine
Oil on canvas. 1912
López Castrillo, Flora

A much beloved pupil of Antonio Muñoz Degraín, Flora López Castrillo constitutes an exception among the Spanish women painters of her time owing to her professional specialisation in landscapes and marines. This work, which clearly shows the influence of her teacher, is inspired by some lines from the poem La Galatea, which was included in a Renaissance pastoral novel by Gaspa

The Prodigal Son squandering his Inheritance
Oil on canvas. 1660 - 1665
Murillo, Bartolomé Esteban
The Prodigal Son squandering his Inheritance
Oil on canvas. 1660 - 1665
Murillo, Bartolomé Esteban

Small canvas which represents an episode from the parable of the Prodigal Son. The six paintings that depict the parable, now in the National Gallery in Dublin, constituting one of the artist’s few narrative series intended for private use and the only one to have survived intact together to the present day. They are partly based on prints by Jacques Callot (1592-1635). Murillo makes full use of h

Pedro Benítez and his Daughter María de la Cruz
Oil on canvas. Ca. 1820
Tegeo Díaz, Rafael
Pedro Benítez and his Daughter María de la Cruz
Oil on canvas. Ca. 1820
Tegeo Díaz, Rafael

In this portrait, Pedro Benítez sits informally on a chair, resting his left arm on its back while gazing frankly and directly at the viewer with whom he establishes an empathetic relationship. He is dressed in the fashion of the reign of Ferdinand VII, with a marvellous cravat emerging from his vest and a book in his right hand. Beside him, standing, is his daughter María de la Cruz

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