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The Immaculate Conception
Oil on canvas. 1767 - 1769
Tiepolo, Giovanni Battista
The Immaculate Conception
Oil on canvas. 1767 - 1769
Tiepolo, Giovanni Battista

This majestic image was part of a cycle of seven altarpieces commissioned in 1767 for the new royal church of San Pascual Bailón at Aranjuez, founded by Charles III in the same year. The altarpieces comprised the entire pictorial decoration of this Alcantarine Franciscan church, which was built in an austere classical style. The subjects of the altarpieces reflected some of the most importa

Saint Sebastian
Oil on canvas. 1617 - 1619
Reni, Guido
Saint Sebastian
Oil on canvas. 1617 - 1619
Reni, Guido

Sebastian was a Roman soldier who suffered martyrdom for his Christian faith during the reign of Diocletian and Maximian at the end of the third century. He was made a patron saint of the city of Rome and his cult became popular throughout Europe as he was invoked in times of plague. Sebastian is usually shown bound to a tree and shot with arrows in what turned out to be a first failed attempt at

River Port by a Castle
Oil on copperplate. 1850
Lucas Velázquez, Eugenio
River Port by a Castle
Oil on copperplate. 1850
Lucas Velázquez, Eugenio

Lucas Velázquez drew his inspiration from different sources over the course of his career. Like Alenza, he drew on Siglo de Oro and Dutch painting for some of his landscapes, whose fantastic character allows us to relate them to works by Pérez Villaamil, although Velázquez’s execution is more frank and direct, with a clear tendency toward expressive sketchiness.His fertile ima

Weapons and Hunting Equipment
Oil on canvas. Ca. 1700
Victoria, Vicente
Weapons and Hunting Equipment
Oil on canvas. Ca. 1700
Victoria, Vicente

Although this painting bears a curious apocryphal signature in large letters at the lower left corner of the canvas, Pérez Sanchez (1983) attributed it to Victoria in 1983 on the basis of its Valencian provenance and that clergyman’s (he was a canon) reputation for making works of this sort. But, while other collections have similar pieces, this attribution raises doubts that may eventually

The Annunciation
Oil on canvas. Ca. 1663
Rizi, Francisco
The Annunciation
Oil on canvas. Ca. 1663
Rizi, Francisco

This painting presents the moment when the Archangel Gabriel, holding a spray of lilies, appears to the Virgin Mary and announces that she will give birth to the Son of God. Mary is depicted kneeling at prayer before an open book resting on a table, at the foot of which sits a sewing basket that alludes to the domestic seclusion in which she lived. The Annunciation proved to be one of the most pop

Archduke Ferdinand and Archduchess Maria Anna of Austria
Oil on canvas. 1770 - 1771
Mengs, Anton Raphael
Archduke Ferdinand and Archduchess Maria Anna of Austria
Oil on canvas. 1770 - 1771
Mengs, Anton Raphael

The two children portrayed here were the children of the Grand Duke of Tuscany, Leopold of Habsburg –who became Emperor of the Holy Roman Empire in 1790–, and Maria Luisa of Bourbon, daughter of Charles III. This commission might have come from the Spanish monarch, who wanted a portrait of his grandchildren, painted in Florence in 1770. Ferdinand (1769-1824), standing, is playing with the chain of

The Crucifixion
Oil on canvas. 1772
Tiepolo, Giovanni Domenico
The Crucifixion
Oil on canvas. 1772
Tiepolo, Giovanni Domenico

Painted in Venice, the painting is part of the series of eight scenes from the Passion of Christ comprising works P00355 to P00362. They came from the Convent of San Felipe Neri in Madrid, from where they were transferred to the Museo de la Trinidad. We have little knowledge of the conditions laid down in the contract (if one ever existed) by the secular clerics of San Felipe Neri in Madrid. There

The Stripping of Christ
Oil on canvas. 1772
Tiepolo, Giovanni Domenico
The Stripping of Christ
Oil on canvas. 1772
Tiepolo, Giovanni Domenico

Painted in Venice, the painting is part of the series of eight scenes from the Passion of Christ comprising works P00355 to P00362. They came from the Convent of San Felipe Neri in Madrid, from where they were transferred to the Museo de la Trinidad. We have little knowledge of the conditions laid down in the contract (if one ever existed) by the secular clerics of San Felipe Neri in Madrid. There

Christ at the Column
Oil on canvas. 1772
Tiepolo, Giovanni Domenico
Christ at the Column
Oil on canvas. 1772
Tiepolo, Giovanni Domenico

Painted in Venice, the painting is part of the series of eight scenes from the Passion of Christ comprising works P355 to P362. They came from the Convent of San Felipe Neri, Madrid, from which they were transferred to the Museo de la Trinidad. We have little knowledge of the conditions set forth in the contract (if one ever existed) by the secular clerics of San Felipe Neri. Therefore, we have no

Christ falls on the Way to Calvary
Oil on canvas. 1772
Tiepolo, Giovanni Domenico
Christ falls on the Way to Calvary
Oil on canvas. 1772
Tiepolo, Giovanni Domenico

Dressed in white with the Crown of Thorns, Jesus has fallen under the weight of the Cross, on the path to Calvary. Behind him are Simon of Cyrene, who helps him with the Cross, and the Holy Women, one of whom carries the sign with the inscription INRI with will later be placed on the Cross; as well as a group of people who accompany Jesus to mount Golgotha, where he is to be crucified. Golgotha is

The Descent from the Cross
Oil on canvas. 1772
Tiepolo, Giovanni Domenico
The Descent from the Cross
Oil on canvas. 1772
Tiepolo, Giovanni Domenico

Painted in Venice, the painting is part of the series of eight scenes from the Passion of Christ comprising works P00355 to P00362. They came from the Convent of San Felipe Neri in Madrid, from where they were transferred to the Museo de la Trinidad. We have little knowledge of the conditions laid down in the contract (if one ever existed) by the secular clerics of San Felipe Neri in Madrid. There

Burial of Christ
Oil on canvas. 1772
Tiepolo, Giovanni Domenico
Burial of Christ
Oil on canvas. 1772
Tiepolo, Giovanni Domenico

Painted in Venice, the painting is part of the series of eight scenes from the Passion of Christ comprising works P00355 to P00362. They came from the Convent of San Felipe Neri in Madrid, from where they were transferred to the Museo de la Trinidad. We have little knowledge of the conditions laid down in the contract (if one ever existed) by the secular clerics of San Felipe Neri in Madrid. There

The Penitent Magdalene
Oil on canvas. 1652 - 1657
Cano, Alonso
The Penitent Magdalene
Oil on canvas. 1652 - 1657
Cano, Alonso

Identifiable by her jar of ointment, Mary Magdalene prays before a crucifix. Cano’s outstanding compositional skills allowed him to adapt himself to the dictates of the frame and make full use of the narrow format, locating the recumbent saint in a pictorial plane very close to the viewer. The artist creates a beautiful play of contrasts between the golden tone of the Magdalene’s hair, her ivory s

Christ before Pilate
Pencil, Red chalk, White lead on grey paper. Mid-XVIcentury
Siciolante Da Sermoneta, Girolamo
Christ before Pilate
Pencil, Red chalk, White lead on grey paper. Mid-XVIcentury
Siciolante Da Sermoneta, Girolamo

The old attribution to the Mannerist painter Pellegrino Tibaldi (1527-1596) may have been suggested by the handling, with its extensive passages of white heightening, as well as the Michelangelesque figure types. Originally from the Ticino, Tibaldi spent his youth in Bologna, later transferring to Rome, where he spent much of his early career. Towards the end of his life, in 1585/86, he moved to S

Study for the dead Christ
Black chalk, Touches of white chalk on ivory laid paper. 1768
Mengs, Anton Raphael
Study for the dead Christ
Black chalk, Touches of white chalk on ivory laid paper. 1768
Mengs, Anton Raphael

Neoclassical painter Anton Raphael Mengs spent some eleven years in Spain -from 1761 to 1769, and again from 1774 to 1777- working primarily on the decoration of Madrid’s Royal Palace for King Charles III. For the king’s bedroom, Mengs made a series of easel paintings on the Passion of Christ -most importantly, Descent from the Cross, Patrimonio Nacional, on permanent loan to the Museu Nacional d’

Conjugal row
Grey-brown wash on ivory paper, laid paper. 1812 - 1823
Goya y Lucientes, Francisco de
Conjugal row
Grey-brown wash on ivory paper, laid paper. 1812 - 1823
Goya y Lucientes, Francisco de

Created in the tumultuous years of the war, Sketchbook F offers a set of drawings marked by cruelty. Among the most heartrending of these is this unequal struggle between a man and a woman, by means of which Goya demonstrates his capacity to depict the essence of gender violence. The somber atmosphere of the bedroom and the lights cast on the bodies dressed in their nightgowns show the movement of

What is the use of a cup?
Black chalk, Red chalk on ivory paper, laid paper. Ca. 1813
Goya y Lucientes, Francisco de
What is the use of a cup?
Black chalk, Red chalk on ivory paper, laid paper. Ca. 1813
Goya y Lucientes, Francisco de

Preparatory drawing for Disasters of War, 59, What is the use of a cup?.In this series of prints executed between 1810 and 1814 Goya offers a critical and personal vision of the consequences of the Spanish Peninsular War (1808-14) that is remote from the propagandistic images produced by his contemporaries. Through his etchings the artist condemned the irrationality of war and the brutality of bot

Saint Ildephonsus and Recceswinth in the Tomb of Saint Leocadia / Two Standing Figures of Saints
Pencil, Pencil on ivory laid paper. XVII century
Cajés, Eugenio (Attributed To)
Saint Ildephonsus and Recceswinth in the Tomb of Saint Leocadia / Two Standing Figures of Saints
Pencil, Pencil on ivory laid paper. XVII century
Cajés, Eugenio (Attributed To)

The scene takes place in an architectural setting with an open sarcophagus (onto which the saint is half-kneeling) and an altar on the right. On the left, Saint Ildephonsus, wearing pontifical vestments, holds out his hands to receive the scissors that Recceswinth offers while standing behind the tomb. The attribution to Cajés is perfectly plausible in view of the character, the technique a

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