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Joseph and the Wife of Putiphar
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti
Joseph and the Wife of Putiphar
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti

Joseph is a handsome and virtuous slave falsely accused of rape by his master´s wife, whose advances he has rejected. He is imprisoned, but eventually raised to the highest office by Pharaoh (Exodus: 39). Joseph and the Wife of Putiphar and Susannah and the Elders (P386) can be understood as parables of righteousness threatened and preserved, but here -as was usual for artists of the Renaissance a

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

Margaret of Austria, Queen of Spain
Oil on canvas. 1607
Pantoja de la Cruz, Juan
Margaret of Austria, Queen of Spain
Oil on canvas. 1607
Pantoja de la Cruz, Juan

Margaret of Austria married Philip III in 1599 after Philip II chose her from among the women of the Austria-Styria family. The marriage was planned to coincide with that of infanta Isabel Clara Eugenia and archduke Albert. Margaret was born in 1584 and when she arrived in Spain in April 1599, she had already been married by power of attorney in Ferrara. She was known for her discretion and virtue

The Infant Saint John the Baptist
Oil on canvas. Early XVIII century
Palomino y Velasco, Acisclo Antonio
The Infant Saint John the Baptist
Oil on canvas. Early XVIII century
Palomino y Velasco, Acisclo Antonio

Las representaciones de San Juan Bautista como niño tienen su origen en el Renacimiento italiano, pero los pintores de ese momento emparejaron generalmente su figura infantil con la del Niño Jesús, dentro de composiciones en las que casi siempre aparecía también la Virgen y se ponía de relieve una tierna relación entre los dos infantes. Andando el tiempo, los artistas comenzaron a dar un tratamien

Triptych of the Redemption: Tribute to Caesar
Grisaille, Oil on panel. Ca. 1450
Master Of The Prado Redemption
Triptych of the Redemption: Tribute to Caesar
Grisaille, Oil on panel. Ca. 1450
Master Of The Prado Redemption

This triptych is the principal creation and the work that has given the name to an anonymous follower of Rogier van der Weyden, previously identified as Vrancke van der Stockt. When open the triptych shows the Expulsion from the Garden of Eden, the Crucifixion and the Last Judgment. The scenes were located beneath Gothic canopies in which various sculptural groups completed the redemptive message,

Margaret of Austria
Oil on canvas. 1606
Pantoja de la Cruz, Juan
Margaret of Austria
Oil on canvas. 1606
Pantoja de la Cruz, Juan

Margaret, who married Philip III in 1599, was the daughter of the Archduke of Bavaria. In this portrait by Pantoja de la Cruz -the most representative painter of the reign- she wears the so-called “Rich jewel”, a dynastic heirloom comprising the diamond known as “El estanque” (The Pool) and the famous large pearl known as “La peregrina” (The Pilgrim).

Infantas Isabel Clara Eugenia and Catalina Micaela
Oil on canvas. Ca. 1575
Sánchez Coello, Alonso
Infantas Isabel Clara Eugenia and Catalina Micaela
Oil on canvas. Ca. 1575
Sánchez Coello, Alonso

Philip II’s two daughters Isabel Clara Eugenia (1566-1633) and Catalina Micaela (1567-1597), were repeatedly portrayed from the time they were very small by Alonso Sánchez Coello, one of the king’s court painters. Those likenesses had the characteristics of court portraits, reflecting not only the sitters’ features and their royal context, but also the type of society and state being depict

The Archdukes' Hunt
Oil on canvas. Ca. 1611
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
The Archdukes' Hunt
Oil on canvas. Ca. 1611
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

Surrounded by courtesans and hunting servants, the governors of the Spanish Low Countries, Archduke Alberto and Archduchess Isabel, rest in the shade of a large poplar tree during one of their hunts. One of their favorite residences, Mariemont Palace, near Brussels, is visible in the background. Brueghel offers a precise, almost topographical rendering of the landscape, including certain elements

The Calling of the Prophet Isaiah
Oil on canvas. 1771
Bayeu, Francisco
The Calling of the Prophet Isaiah
Oil on canvas. 1771
Bayeu, Francisco

This is a preparatory oil sketch for one of the eight frescoes, now lost, by Bayeu for the dome of the collegiate church at La Granja de San Ildefonso, Segovia. They depicted the exaltation of the Trinity and the revelation of the existence of God. A seraphim with a live coal taken from the temple altar approaches Isaiah, kneeling before a vision of God, and touches him with it in order to leave h

Triptych of the Life of the Virgin
Oil on panel. Ca. 1445
Bouts, Dirk
Triptych of the Life of the Virgin
Oil on panel. Ca. 1445
Bouts, Dirk

This triptych presents four scenes: the Annunciation, the Visitation, the Adoration of the Angels and the Adoration of the Magi. Painted around 1445, it is considered the earliest surviving work by Dirk Bouts. Stylistically, it resembles his later paintings except for the canon of its figures, which are much shorter here than in posterior works. Besides the interest Bouts shows in landscape from t

Father Cabanillas
Oil on canvas. 1689 - 1693
Coello, Claudio
Father Cabanillas
Oil on canvas. 1689 - 1693
Coello, Claudio

This likeness of the Franciscan clergyman is a significant example of elongated bust portraits that are quiet customary in the Western figurative tradition. Such works allow a closer approach to the model’s essential features, reducing but not eliminating accessory elements such as his clothing and a summary depiction of the surrounding space. Rather than overly limiting information on the protago

Adam and Eve reprimanded for their Sin
Oil on canvas. 1771
Bayeu, Francisco
Adam and Eve reprimanded for their Sin
Oil on canvas. 1771
Bayeu, Francisco

Sketch for one of the eight segments of the dome of the collegiate church at La Granja, Segovia. These Old and New Testament scenes (destroyed in 1918) glorified the Holy Trinity. God reprimands Adam and Eve for disobeying him, while an angel announces to Abraham that his barren wife will bear a child.In this sketchs the noble simplicity of the poses and emotions evidences the influence of Anton R

Joaquina Téllez-Girón, daugther of the 9th Duke and Duchess of Osuna
Oil on canvas. 1798
Esteve, Agustín
Joaquina Téllez-Girón, daugther of the 9th Duke and Duchess of Osuna
Oil on canvas. 1798
Esteve, Agustín

Joaquina Téllez-Girón (1784-1851) married José de Silva Bazán, the future Marquis of Santa Cruz, in 1801. Goya had painted her as a child in the family portrait and alone, at the height of her beauty and as a muse, in 1805. However, Esteve’s less brilliant technique fails to render the subtle transparencies of her gauze dress with the same accomplishment as his master.

Young Girl Seated in a Landscape
Oil on canvas. 1842
Tegeo Díaz, Rafael
Young Girl Seated in a Landscape
Oil on canvas. 1842
Tegeo Díaz, Rafael

Sitting on a stone bench beside a landscape that disappears into the distance, the girl holds various roses on a handkerchief in her lap. Her hat lies on the ground. Lost in thought, she gazes out of the painting. Her pale complexion and large black eyes are notable. The painter manages to capture the young girl´s fragility and smallness, as well as her expression, which reflects a mood somewhere

Philip V
Oil on canvas. 1718 - 1722
Meléndez, Miguel Jacinto
Philip V
Oil on canvas. 1718 - 1722
Meléndez, Miguel Jacinto

This portrait of Philip V is based on a prototype devised by Meléndez in the 1720s. It combines a French model with the use of broad, zig-zagging brushstrokes typical of the Madrid Baroque style. The monarch´s notably idealised face is extremely delicately painted, with the paler tone of the broad brow suggesting the illumination of intelligence. Small highlights on the nose and lips emphas

Empress Maria of Austria, Wife of Maximilian II
Oil on canvas. 1551
Mor, Anthonis
Empress Maria of Austria, Wife of Maximilian II
Oil on canvas. 1551
Mor, Anthonis

Maria of Austria, the daughter of Charles V and Isabella of Portugal, was born in 1528. In 1548 she married her cousin, the Archduke Maximilian. She reigned as empress from 1564 to 1576, and in 1580 returned to Spain, entering the convent of Las Descalzas Reales (Madrid), where she remained until her death in 1603. This is a companion piece to a lifesize, full-length portrait of her husband (P-211

Skating Masquerade, or Carnival on Ice at the Kipdorppoort Moats in Antwerp
Oil on panel. Ca. 1620
Alsloot, Denis Van
Skating Masquerade, or Carnival on Ice at the Kipdorppoort Moats in Antwerp
Oil on panel. Ca. 1620
Alsloot, Denis Van

The inhabitants of Antwerp enjoy skating on the frozen water in the moats alongside the city walls. Divided into groups, some disguised and others elegantly dressed, the represent diverse attitudes and stereotypes from the celebration of Carnival. Images of feasts and celebrations in the Low Countries are common in the work of Denis van Alsloot. In his customary manner, he creates a very detailed

Josefa Coello de Portugal
Oil on canvas. 1855
Madrazo y Kuntz, Federico de
Josefa Coello de Portugal
Oil on canvas. 1855
Madrazo y Kuntz, Federico de

In the mid-nineteenth century Federico de Madrazo produced some of the most successful portraits of the Spanish bourgeoisie during the reign of Isabel II (1833-68), presenting them with the opulence that their social status demanded. In addition to his remarkable artistic ability, his female portraits are outstanding for their depiction of the accessories and adornments. These details are emphasis

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