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Archduke Ferdinand and Archduchess Maria Anna of Austria
Oil on canvas. 1770
Mengs, Anton Raphael
Archduke Ferdinand and Archduchess Maria Anna of Austria
Oil on canvas. 1770
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 Charl [+]

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 altarp [+]

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 [+]

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 ch [+]

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 V [+]

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 [+]

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 f [+]

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 [+]

Ivory Christ on a Rock Crystal Cross
Silver gilt, Copper alloy, Rock crystal / hyaline quartz, Ivory. 1300 - 1330
Anonymous
Ivory Christ on a Rock Crystal Cross
Silver gilt, Copper alloy, Rock crystal / hyaline quartz, Ivory. 1300 - 1330
Anonymous

An ivory Christ with copper arms that were probably added at a later date. The cross consists of various pieces of rock crystal joined by metal rods covered with painted parchment. The clasps are of e [+]

Peace and her Fruits
Ivory. XVIII century
Anonymous
Peace and her Fruits
Ivory. XVIII century
Anonymous

The goddess Eirene, bearing an olive branch, personifies Peace. She is surrounded by allegories of her bounty: prosperity, plenty, the progress of all the arts represented and the rejection of arms, t [+]

Athena Parthenos
Marble. 130 - 150
Roman Sculptor
Athena Parthenos
Marble. 130 - 150
Roman Sculptor

A miniature Roman reproduction of the famous statue that Phidias made for the Parthenon in Athens between 447 and 438 B.C. The original was about eleven meters in height and was of gold and ivory. The [+]

The filiation
Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
The filiation
Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 57, The filiation. In the composition, a standing man reads to a seated woman. Both wear masks. Another man scrutinizes them with a monocle while the monkey on his shoulders looks directly o [+]

Two of a Kind
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Two of a Kind
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 5, Two of a Kind is part of The Caprichos. The subject matter was common in depictions of that period. At first glance, the preparatory drawing might seem to be a simple genre scene—a lady be [+]

Hapless Mother!
Drypoint, Etching, Aquatint, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
Hapless Mother!
Drypoint, Etching, Aquatint, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

When Goya penciled his tiles on the complete set of prints that he gave to his friend, Ceán Bermúdez, each word was rigorously adapted to the composition and to the critical intentions w [+]

The kidnapping horse
Drypoint, Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de
The kidnapping horse
Drypoint, Retroussage, Etching, Aquatint, Burnisher on ivory paper. 1815 - 1819
Goya y Lucientes, Francisco de

Disparates, 10, The Kidnapping Horse, closely resembles Folly of Fear (D04274) in its technique, with light reddish washes to define the wooded background and more intense washes for the figures. Its [+]

Look how solemn they are!
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
Look how solemn they are!
Drypoint, Etching, Aquatint on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

Capricho 63, Look how solemn they are! is part of The Caprichos. The subject matter was common in representations of that period. The composition has three figures, one of whom is being ridden by the [+]

They already have a seat
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de
They already have a seat
Burnished aquatint, Etching on ivory laid paper. 1797 - 1799
Goya y Lucientes, Francisco de

En esta escena Goya alude a conceptos como “moza de silla”, identificado con la práctica de la prostitución, o a expresiones tales como “sentar la cabeza”, en el sentido de volverse una persona juicio [+]

Harvest of the Dead
Etching, Aquatint, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de
Harvest of the Dead
Etching, Aquatint, Burnisher on ivory paper. 1812 - 1814
Goya y Lucientes, Francisco de

Disasters of War, 63, Harvest of the Dead.Goya devoted many of the prints in the first part of The Disasters of War to scenes in which the civilian population is the innocent victim of soldiers´ exces [+]

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