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Allegory of Dusk
Oil on canvas. 1819
Madrazo y Agudo, José de
Allegory of Dusk
Oil on canvas. 1819
Madrazo y Agudo, José de

The allegories, The Hours of the Day, were painted in 1819 by José de Madrazo in Rome just before his return to Spain, to be used in the decoration of the small palace in Madrid known as Casino de la Reina. This country holding, considered one of “the most prized curiosities of Madrid”, was acquired in 1816 by the city government of Madrid as a gift for Queen María Isabel of Braganza

Still Life with fish, a candle, artichokes, crab and prawns
Oil on panel. 1611
Peeters, Clara
Still Life with fish, a candle, artichokes, crab and prawns
Oil on panel. 1611
Peeters, Clara

On what appears to be a wooden table or ledge we see boiled crabs and shrimp, several freshwater fish (two carp, a roach, possibly several ide, and a northern pike), a dark glass goblet, a brass candlestick with a partially burnt but flameless candle, a copper strainer with a brass skimmer and two artichokes, and a Rhenish stoneware jug. Reflected on its lid is a self-portrait of the artist with a

Still Life with Box of Jelly, Bread, Salver with Glass and Cooler
Oil on canvas. 1770
Meléndez, Luis Egidio
Still Life with Box of Jelly, Bread, Salver with Glass and Cooler
Oil on canvas. 1770
Meléndez, Luis Egidio

Meléndez’s works are characterized by his interest in familiar, everyday realities, which he places in the immediate foreground as if seeking direct contact with the viewer. And yet, in the context of this desire to create a repertoire of common foodstuffs and utensils, we occasionally find a more distinguished and decorative object, less popular than its everyday kitchen surroundings. Here

The Last Supper
Oil on panel. 1555 - 1562
Juanes, Juan de (Vicente Juan Masip)
The Last Supper
Oil on panel. 1555 - 1562
Juanes, Juan de (Vicente Juan Masip)

Painted for the base of the main altarpiece of San Esteban in Valencia (P00838, P00839, P00840, P00841 and P00842), Inspired by Leonardo, both in the definition of the space and in the eloquent expressiveness of the apostles, it also shows Juanes’s close relationship with Raphael. In keeping with traditional iconography in Spain, he focussed the scene on Jesus, serene and triumphant at the moment

Still Life with Watermelon, Pastries, Bread and Wine
Oil on canvas. 1770
Meléndez, Luis Egidio
Still Life with Watermelon, Pastries, Bread and Wine
Oil on canvas. 1770
Meléndez, Luis Egidio

Luis Meléndez distinguished himself as the greatest bodegón, or still-life, painter in late eighteenth-century Spain. By this time, the popularity of the genre had declined in Spain and was not practiced by any of Meléndez’ contemporaries at court. Even so, Meléndez painted over one hundred bodegones in his lifetime, leading art historians to infer that he took a person

Bacchic Scene
Oil on canvas. 1626 - 1628
Poussin, Nicolas
Bacchic Scene
Oil on canvas. 1626 - 1628
Poussin, Nicolas

In a lush, wooded landscape on the banks of a quiet river, a nude woman, sitting on a richly colored red cloak, gestures to two male figures posed beside her. Supporting a glazed jug in her lap, she points to the standing nude boy, who pours wine from a golden ewer into the mouth of a kneeling satyr. Wearing a grapevine belt and a crown, the satyr, a half-man, half-goat creature associated with un

Monkeys in a Tavern
Oil on panel. Ca. 1660
Teniers The Younger, David
Monkeys in a Tavern
Oil on panel. Ca. 1660
Teniers The Younger, David

This work is part of the series of six panels of monkey scenes in the Museo Nacional del Prado (from P01805 to P01810). The subject matter has been associated with human foolishness since the Middle Ages and is drawn from the oeuvre of Pieter Brueghel the Elder and Peter van der Borcht. Teniers successfully captures the ambivalence of mankind in its animal nature. A group plays cards in the foreg

Family in a Garden
Oil on canvas. 1679
Kessel el Joven, Jan Van
Family in a Garden
Oil on canvas. 1679
Kessel el Joven, Jan Van

This scene of a family in a garden is a rare example of a group portrait in Spanish 17th-century art. Its uniqueness is explained by the fact that it was painted by a Flemish artist based in Madrid, who also included his self-portrait looking out of a window. Despite the appearance of everyday normality, the unknown sitters are surrounded by a wide range of symbols that refer to the virtues of fam

Still Life with Flowers, a Silver-gilt Goblet, Dried Fruit, Sweetmeats, Bread sticks, Wine and a Pewter Pitcher
Oil on panel. 1611
Peeters, Clara
Still Life with Flowers, a Silver-gilt Goblet, Dried Fruit, Sweetmeats, Bread sticks, Wine and a Pewter Pitcher
Oil on panel. 1611
Peeters, Clara

It has often been stated that this painting is part of a series of four, all now in the Prado, but that is probably not the case. The dimensions of all four paintings (P1619, P1620, P1621, P1622) are similar, but their provenance is not. This, and Table with Cloth, Salt Cellar, Gilt Standing Cup, Pie, Jug, Porcelain Plate with Olives and Cooked Fowl (P1622), are first documented when they were inv

Still Life with Limes, Oranges, Haw Berries and Watermelon
Oil on canvas. 1760
Meléndez, Luis Egidio
Still Life with Limes, Oranges, Haw Berries and Watermelon
Oil on canvas. 1760
Meléndez, Luis Egidio

Monkeys smoking and drinking
Oil on panel. Ca. 1660
Teniers The Younger, David
Monkeys smoking and drinking
Oil on panel. Ca. 1660
Teniers The Younger, David

This work is part of the series of six panels of monkey scenes in the Museo Nacional del Prado (from P01805 to P01810). The subject matter has been associated with human foolishness since the Middle Ages and is drawn from the oeuvre of Pieter Brueghel the Elder and Peter van der Borcht. Teniers successfully captures the ambivalence of mankind in its animal nature. Four apes are smoking around a ta

Kitchen Still Life
Oil on canvas. Ca. 1664
Cerezo, Mateo
Kitchen Still Life
Oil on canvas. Ca. 1664
Cerezo, Mateo

A profusion of cooking utensils and hearty meats -game birds fresh from the hunt and not yet dressed, a recently-killed lamb, a calf’s head, and other cuts- are laid out on a work surface, as if the painter had found them thus in a kitchen, awaiting the preparation of a meal. The apparent disorderly informality of the painting’s composition gives it an air of immediacy and lifelikeness, but is in

The Milkmaid of Bordeaux
Oil on canvas. Ca. 1827
Goya y Lucientes, Francisco de
The Milkmaid of Bordeaux
Oil on canvas. Ca. 1827
Goya y Lucientes, Francisco de

An image of a young milkmaid with an apron, a shawl on her shoulders and a scarf holding back her hair. There is a milk jug behind her, to the left. The bottom-to-top perspective seems intended to give the sensation that she is riding a mule. The light colors and straightforward subject matter contrast with Goya´s last works, both in Madrid and in Bordeaux, when darker color schemes brought out mo

Table with a cloth, salt cellar, gilt tazza, pie, jug, porcelain dish with olives, and roast fowl
Oil on panel. Ca. 1611
Peeters, Clara
Table with a cloth, salt cellar, gilt tazza, pie, jug, porcelain dish with olives, and roast fowl
Oil on panel. Ca. 1611
Peeters, Clara

This painting was first recorded in 1746 in the Spanish royal collection, together with Still life with Flowers, Gilt Goblet, Almonds, Dried Fruits, Sweets, Biscuits, Wine and a Pewter Flagon (P1620). The two paintings remained in the royal collection until they entered the Prado. The suggestion made in the past that this and three other paintings in the Prado (P1619, P1620 y P1621) formed a serie

Still Life with Vessels
Oil on canvas. Ca. 1650
Zurbarán, Francisco de
Still Life with Vessels
Oil on canvas. Ca. 1650
Zurbarán, Francisco de

Various vessels of different materials, shapes and uses rest on a wooden surface that could be a table or a shelf. From left to right they are: a pewter plate holding a complex and refined goblet, probably of gilded silver; a water jug from Triana of the short known as eggshell (made of porous earthenware that cools water though evaporation), a vase from the Indies (probably from the Viceroyalty o

Allegory of Noon
Oil on canvas. 1819
Madrazo y Agudo, José de
Allegory of Noon
Oil on canvas. 1819
Madrazo y Agudo, José de

The allegories, The Hours of the Day, were painted in 1819 by José de Madrazo in Rome just before his return to Spain, to be used in the decoration of the small palace in Madrid known as Casino de la Reina. This country holding, considered one of “the most prized curiosities of Madrid”, was acquired in 1816 by the city government of Madrid as a gift for Queen María Isabel of Braganza

Still Life with Apricots, Buns and Vessels
Oil on canvas. Third quarter of the XVIII century
Meléndez, Luis Egidio
Still Life with Apricots, Buns and Vessels
Oil on canvas. Third quarter of the XVIII century
Meléndez, Luis Egidio

Ceres in the House of Hecuba
Oil on copperplate. Ca. 1605
Elsheimer, Adam (And Workshop)
Ceres in the House of Hecuba
Oil on copperplate. Ca. 1605
Elsheimer, Adam (And Workshop)

According to Ovid’s Metamorphoses, after several days’s searching for her daughter Proserpina, who had been abducted by Pluto, Ceres stopped at the house of Hecuba. There, the goddess was offered a jug of water, from which she drank greedily, provoking the laughter of the young Stellio, whom Ceres turned into a tiny lizard. This painting belonged to Rubens, a friend and admirer of Elsheimer.

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