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The Fruit Vendors
Oil on canvas. Ca. 1650
Espinosa, Jerónimo Jacinto
The Fruit Vendors
Oil on canvas. Ca. 1650
Espinosa, Jerónimo Jacinto

A poor student is handing over some coins to a fruit-seller as he makes a knot in the handkerchief, clinched in his teeth, to put away the change. On the right side, in the immediate foreground, a young man biting on a chunk of melon stares at us. He is holding a basket full of fruit, which, besides the melons on the left, is one of the most attractive parts of this splendid “still life with figur

Still Life with a silver beaker and a clock
Oil on panel. 1633
Heda, Willem Claesz
Still Life with a silver beaker and a clock
Oil on panel. 1633
Heda, Willem Claesz

In addition to the Roemer goblet, other glasses common in this kind of monochrome still life presented here include the Berkemeyer, in this case tipped over and broken, and the delicate Façon-de-Venise wineglass, in fashion at the time and likewise made in the Netherlands. Also featured is an exquisitely decorated silver goblet. Alongside them is a knife with a sheath and an open clock that

Garland with the Virgin and Child
Oil on copperplate. 1644
Seghers, Daniel
Garland with the Virgin and Child
Oil on copperplate. 1644
Seghers, Daniel

Seghers trained in Antwerp and was a member of the Jesuit Order. Around 1640 he started to paint reliefs with religious motifs framed by garlands. Works of this type proclaimed the legitimacy of images as objects of veneration.

Still Life with Oysters, Garlic, Eggs, Pot and Pan
Oil on canvas. 1772
Meléndez, Luis Egidio
Still Life with Oysters, Garlic, Eggs, Pot and Pan
Oil on canvas. 1772
Meléndez, Luis Egidio

This highly original still life presents various oysters in the fore and middle grounds—a relatively infrequent element in Meléndez’s paintings. The foreground is completed by some cloves of garlic and a decorated ceramic plate, probably from Talavera. Behind them, the powerful volume of an enormous copper pot vies for the leading role in this composition. It is tilted, as one edge rests on

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

Allegory of Fame
Oil on canvas. Ca. 1775
Castillo, José del
Allegory of Fame
Oil on canvas. Ca. 1775
Castillo, José del

This singular composition, which can be dated 1775, was painted at the height of the 18th century, although, in aesthetic terms, the Baroque was already in decline as it entered its final phase. Its decorative conception echoes the refinement of the rococo, although it draws much of its material from the anaglyphic repertory of the mature Renaissance—conveniently polished—when artists were recover

Fruits and flowers
Oil on canvas. 1664
Son, Joris Van
Fruits and flowers
Oil on canvas. 1664
Son, Joris Van

The Adoration of the Magi
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
The Adoration of the Magi
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista

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

Water
Oil on canvas. 1675 - 1700
Anonymous
Water
Oil on canvas. 1675 - 1700
Anonymous

This canvas by a late 17th-century painter is part of a group of four works, all at the Museo del Prado (P191, P3196, P3197 and P3198), that express the idea of the Elements through motives drawn from classical mythology. According to R. López Torrijos (1985), Water is embodied here by Ocean’s sister and wife, Thetis, who was queen of the seas. A crown and scepter underline her royal charac

Still Life with Limes, Box of Jelly, Butterfly and Vessels
Oil on canvas. Third quarter of the XVIII century
Meléndez, Luis Egidio
Still Life with Limes, Box of Jelly, Butterfly and Vessels
Oil on canvas. Third quarter of the XVIII century
Meléndez, Luis Egidio

Some limes, laid out with the artist's habitual disorder, occupy almost half the canvas. Behind them, a honey pot of the popular green-glazed type from Biar or Lucena shows the painter's eye for detail. In the background, a box of jelly lies open on a castañuela plate. Behind it, a silver or pewter saucer holds a Tonalá type Mexican ceramic cup. The butterfly hovering over it all is interesting fo

The Archduke Leopold William in his Picture Gallery in Brussels
Oil on copperplate. 1647 - 1651
Teniers The Younger, David
The Archduke Leopold William in his Picture Gallery in Brussels
Oil on copperplate. 1647 - 1651
Teniers The Younger, David

Depictions of painting galleries became popular in the Netherlands at the beginning of the 17th century. The exhibition of paintings and other artistic or natural objects was originally a way of manifesting the high social standing of an eminently bourgeois class with a strong desire to ennoble itself. In many cases, the paintings did not rigorously reflect the client’s collection, but served inst

Alegoría de la Aritmética
Oil on canvas. Ca. 1775
Castillo, José del
Alegoría de la Aritmética
Oil on canvas. Ca. 1775
Castillo, José del

The compositional structure and depiction of details reveal the artist’s ability to devise decorative elements such as garlands, flowers and scroll-work and to combine them with figures. The motifs are set against a blue background that gives rise to a harmonious and striking composition.

The Pearl and the Wave
Oil on canvas. 1862
Baudry, Paul
The Pearl and the Wave
Oil on canvas. 1862
Baudry, Paul

An intensely sensual female nude that presents the figure in the form of a pearl enclosed in its box, the ocean, which may be an allusion to the birth of Venus. Presented at the Paris Salon of 1863, this work was one of the most appreciated female nudes of Second Empire Paris, despite the strong criticism it received as an exultantly erotic work lacking any moral modesty. Its first owner was the E

Still Life with a silver tazza, a roemer and oysters
Oil on panel. 1632
Heda, Willem Claesz
Still Life with a silver tazza, a roemer and oysters
Oil on panel. 1632
Heda, Willem Claesz

The painting belongs to the type of still life designated by Vroom as monochrome banketjes, pieces first executed by Heda towards the end of the 1620s that became very popular in the Netherlands and abroad, as illustrated by the fact that there were two in the inventory of Rubens´s property. There are sufficient grounds to interpret these compositions as moralising, religious or allegorical works.

The Attributes of the Virgin
Oil on canvas. Ca. 1778
Bayeu, Francisco
The Attributes of the Virgin
Oil on canvas. Ca. 1778
Bayeu, Francisco

These are sketches for the frescoes adorning the main altar of the chapel in the Palace of Aranjuez. The brilliant, highly detailed technique reveals the lingering influence of the Italian, Corrado Giaquinto. Angels bear symbols which allude to the purity of the Virgin: the mirror without blemish reflecting eternal light, and a bunch of white lilies and an open oyster with a pearl as symbols of th

The Apostle James
Mixed method on panel. Ca. 1500
Master Of The Visitation Of Palencia
The Apostle James
Mixed method on panel. Ca. 1500
Master Of The Visitation Of Palencia

This panel is by an anonymous Hispano-Flemish painter active in Burgos and Palencia who was influenced by Diego de la Cruz and the Master of Los Balbases. His name derives from his best known work, the Altarpiece of the Visitation in Palencia Cathedral. The apostle can be identified by the inscription on his halo and his attributes: the pilgrim’s staff, water gourd, hat and cockle shells. In his l

Sight and Smell
Oil on canvas. Ca. 1620
Francken II, Frans; Balen, Hendrick Van; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
Sight and Smell
Oil on canvas. Ca. 1620
Francken II, Frans; Balen, Hendrick Van; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

This canvas and its companion, Taste, Hearing and Touch (P1404), represent the five senses embodied by female figures in palatial interiors. The sense of smell is conveyed by a woman holding flowers, while Sight contemplates herself in a mirror held by a cherub. They are located in a hall filled with paintings and sculptures, a sort of cabinet of paintings that could reflect an idealized represent

Still Life with Fish and Turtle
Oil on canvas. Ca. 1680
Recco, Giuseppe
Still Life with Fish and Turtle
Oil on canvas. Ca. 1680
Recco, Giuseppe

Giuseppe Recco, a member of one of the most famous families of Neapolitan still-life painters in the seventeenth century, was born in Naples on 12 July 1634. His vast output was consistently high in quality and is characterised by a marked cultural eclecticism, taking in a number of different still-life styles, from Spanish to northern European to Roman, with an unusual iconographic versatility.In

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