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The Port of Amsterdam in Winter
Oil on canvas. 1656 - 1660
Dubbels, Hendrick Jacobsz
The Port of Amsterdam in Winter
Oil on canvas. 1656 - 1660
Dubbels, Hendrick Jacobsz

This is one of the few winter scenes painted by Hendrick Dubbels still preserved today. In the Museum`s catalogues it is described as a scene with skaters, although only three of the many characters depicted here are actually skating, and one is putting on skates. The 1873 and 1878 editions state that, despite the signature, some consider this to be by Bonaventura Peeters; the 1885 publication men

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 local Barber
Oil on canvas. XVII century
Miel, Jan
The local Barber
Oil on canvas. XVII century
Miel, Jan

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

Ascent of a Montgolfier Balloon at Aranjuez
Oil on canvas. Ca. 1784
Carnicero, Antonio
Ascent of a Montgolfier Balloon at Aranjuez
Oil on canvas. Ca. 1784
Carnicero, Antonio

The event depicted in this painting by Antonio Carnicero illustrates the interest in scientific advances characteristic of the Enlightenment, a historical period from the second half of the 18th century dominated by practical reason. The image shows French balloon pilot Bouclé’s experiment in the gardens of the Royal Seat at Aranjuez on June 5, 1784, during the final years of Charles III’s

The King drinks
Oil on copperplate. 1650 - 1660
Teniers The Younger, David
The King drinks
Oil on copperplate. 1650 - 1660
Teniers The Younger, David

This work depicts the feast of Epiphany, as can be seen by the crown on the central figure, whose paintings show an Adoration of the Magi. According to Flemish folk tradition, in this feast, the king of the celebration is chosen by chance, being the one who finds a bean in his cake. Other Flemish artists, such as Jordaens, depicted this celebration in the same way, reflecting its most festive mome

Boys playing with Tops
Oil on canvas. 1780
Castillo, José del
Boys playing with Tops
Oil on canvas. 1780
Castillo, José del

Four boys play outside with their tops, which they spin and attempt to pick up without stopping their rotation. This childhood scene, captured with clear tenderness by Castillo, allowed him to allude to certain physical capacities, such as dexterity and skill, that the new ideas of the Enlightenment considered a part of the education of young people. This work belongs to a set of educational child

Winter Landscape with Skaters
Oil on canvas. 1629
Droochsloot, Joost Cornelisz.
Winter Landscape with Skaters
Oil on canvas. 1629
Droochsloot, Joost Cornelisz.

Droochsloot was the only artist in the Utrecht school who cultivated the painting of scenes featuring winter landscapes and pastimes, a favourite genre in sixteenth -and seventeenth- century Dutch painting.This scene is not painted from nature, but draws on Flemish compositions produced by the circle of Pieter Brueghel the Elder (1525-1569), featuring large numbers of people from different social

Lazarus and Dives
Oil on canvas. Ca. 1570
Bassano, Leandro
Lazarus and Dives
Oil on canvas. Ca. 1570
Bassano, Leandro

The parable of Lazarus (Luke 16: 19-31) has been interpreted in many ways: an apology of charitable works; a comparison between salvation and perdition, and between gentiles (Lazarus) and Jews (Epulon, the rich man); and the dogs who lick Lazarus´s sores have even been held to be an allusion to the Dominican preachers and their miraculous cures. Aikema has provided examples of sermons and contempo

The Archery Contest
Oil on panel. Ca. 1645
Teniers The Younger, David
The Archery Contest
Oil on panel. Ca. 1645
Teniers The Younger, David

A group of villagers pass the time by testing their aim with a bow. One shoots at the target placed in the ruins of a wall while the others look on, standing or sitting, and a small group converse. The horizontal layout of this composition is more pronounced than in other scenes by this painter, which reinforces the idea of movement in the event. Stylistic motives like the evening light that flood

A Picador
Oil on unlined canvas. Ca. 1795
Goya y Lucientes, Francisco de
A Picador
Oil on unlined canvas. Ca. 1795
Goya y Lucientes, Francisco de

An equestrian portrait of a picador, wearing a short bullfighting suit and hat and carrying a long pike. The background is a landscape with a river. X-rays of this work show that this picador is painted over an equestrian portrait of Manuel Godoy, who wears the sash of the Order of Carlos III, which he received in 1791, and the three-cornered hat of Commander of the Lifeguards, a title he received

The Duchess of Alba and La Beata
Oil on unlined canvas. 1795
Goya y Lucientes, Francisco de
The Duchess of Alba and La Beata
Oil on unlined canvas. 1795
Goya y Lucientes, Francisco de

The lively, somewhat childish character of Cayetana, the Duchess of Alba, is reflected in this little canvas. Her back is turned to the viewer, but she is recognizable by her abundantly curly black hair. She plays at frightening her duenna, Rafaela Luisa Velázquez, known as “la Beata” (“the Sanctimonious”). The Duchess shows the old woman a coral charm of the sort designed to ward off the e

Boys Playing at Bullfighting
Oil on canvas. XVIII century
Bayeu y Subías, Ramón
Boys Playing at Bullfighting
Oil on canvas. XVIII century
Bayeu y Subías, Ramón

The Kite
Oil on canvas. 1781 - 1782
Vernet, Claude-Joseph
The Kite
Oil on canvas. 1781 - 1782
Vernet, Claude-Joseph

In the eighteenth century, kites were an ideal subject for representing nature at its most sublime. Here the kite is blown by the wind to a dizzy height, where a dark cloud charged with electricity threatens danger for the young people below. The painting formed part of a series of six landscapes destined for the Casita del Príncipe at El Escorial, three of which are preserved at the Prado

The Beheading of Saint John the Baptist and Herod’s Banquet
Oil on canvas. 1630 - 1633
Strobel The Younger, Bartholomäus
The Beheading of Saint John the Baptist and Herod’s Banquet
Oil on canvas. 1630 - 1633
Strobel The Younger, Bartholomäus

This work depicts the martyrdom of Saint John the Baptist due to the perfidy of Salome, who asked for his head after seducing King Herod with her dancing. Strobel, a painter of Polish origin, tells the story on an enormous stage that represents to moment of the martyrdom on the far right, where we can see the saint´s decapitated body. On the other side of the large column, the figure of Salome sho

Boys Playing Chito
Oil on canvas. 1780
Castillo, José del
Boys Playing Chito
Oil on canvas. 1780
Castillo, José del

Three boys -two standing and one seated- are playing chito, a game in which metal disks known as tejos are thrown at a piece of carved wood (the chito) resting on the ground with a coin on top of it. The goal is to topple the chito, causing the coin to fall. The player whose tejo is closest to the fallen coin wins.

Rustic Concert with Pipe and Violin
Oil on panel. 1635 - 1637
Ostade, Adriaen Van
Rustic Concert with Pipe and Violin
Oil on panel. 1635 - 1637
Ostade, Adriaen Van

This work belongs to the so-called peasant interiors, one of the new genres of painting that emerged and developed in the Netherlandsin 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 moralising lit

Suerte de Varas (Lancing the Bull)
Oil on canvas. Ca. 1855
Lucas Velázquez, Eugenio
Suerte de Varas (Lancing the Bull)
Oil on canvas. Ca. 1855
Lucas Velázquez, Eugenio

Among the multiple sources of inspiration that Eugenio Lucas found in Goya’ works, bullfighting played a very substantial role in his painting career. As a bullfighting connoisseur and friend of bullfighters, he reflected his knowledge of that activity in a plethora of paintings of the widest variety, ambition and interest, always with the energetic and passionate approach that characterized his p

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