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Still Life with a silver beaker and a clock
Oil on panel. 1633
Heda, Willem Claesz
Still Life with a silver beaker and a clock
Oil on panel. 1633
Heda, Willem Claesz

In addition to the Roemer goblet, other glasses common in this kind of monochrome still life presented here include the Berkemeyer, in this case tipped over and broken, and the delicate Façon-de-Venise wineglass, in fashion at the time and likewise made in the Netherlands. Also featured is an exquisitely decorated silver goblet. Alongside them is a knife with a sheath and an open clock that

Saint James the Less
Oil on panel. 1610 - 1612
Rubens, Peter Paul
Saint James the Less
Oil on panel. 1610 - 1612
Rubens, Peter Paul

This is one of a series of twelve panels (P01646, P01647, P01648, P01649, P01650, P01651, P01652, P01653, P01654, P01655, P01656, P01657) that make up an apostolate that originally included a Savior of the World. The disciples of Christ are represented in the style the painter used around 1612-1613. These are large figures of forceful appearance and considerable plasticity, contrasting with the da

Saint Simon
Oil on panel. 1610 - 1612
Rubens, Peter Paul
Saint Simon
Oil on panel. 1610 - 1612
Rubens, Peter Paul

This is one of a series of twelve panels (P01646, P01647, P01648, P01649, P01650, P01651, P01652, P01653, P01654, P01655, P01656, P01657) that make up an apostolate that originally included a Savior of the World. The disciples of Christ are represented in the style the painter used around 1612-1613. These are large figures of forceful appearance and considerable plasticity, contrasting with the da

Still Life with Römer, Silver Tazza and Bread Roll
Oil on canvas. 1637
Claesz., Pieter
Still Life with Römer, Silver Tazza and Bread Roll
Oil on canvas. 1637
Claesz., Pieter

This still life forms part of the group of paintings Vroom dubbed monochrome banketjes or monochrome still lifes which were started in 1629 by Willem Claesz. Heda, but which Pieter Claesz. cultivated with equal mastery, to the point that these two painters are considered its leading exponents. The work is dated 1637 and signed with Claesz´s typical monogram and the enigmatic word TÉNESIUS I

Table
Oil on canvas. 1636 - 1650
Benedetti, Andries
Table
Oil on canvas. 1636 - 1650
Benedetti, Andries

On a table partially covered by a green tablecloth, the painter has placed a white cloth, delicate gold-worked jars and glasses that reflect the light, a dish with ham, bread and a large basket of peaches and several types of grapes. There is also a half-peeled lemon, typical of Nordic still-lifes. In the background, there is a large red curtain and a gallery with columns. Charged with symbolic an

Saint Bartholomew
Oil on canvas. 1641
Ribera, Jusepe de, lo Spagnoletto
Saint Bartholomew
Oil on canvas. 1641
Ribera, Jusepe de, lo Spagnoletto

The saint in this painting can be identified by the knife in his right hand - the tool with which he was skinned. The work is part of a set of four hermits, although it is unusual to see this saint represented in a penitent manner, in a landscape, devoting himself to meditation and contemplation. The painting is among a group of eight full-length single-figure composition of saints by Ribera that

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

Cats fighting in a Larder
Oil on canvas. 1630 - 1640
Vos, Paul de
Cats fighting in a Larder
Oil on canvas. 1630 - 1640
Vos, Paul de

With the owners or house servants away, the animals sneak into the larder, giving free rein to their instincts. This leads to a fight. Scenes of animal fights in domestic settings were customary in mid-seventeenth-century Flemish painting. They were also frequent in the literature of proverbs, where they were interpreted as moral allusions to the abandonment of responsibilities and their consequen

Saint John the Evangelist
Oil on panel. 1610 - 1612
Rubens, Peter Paul
Saint John the Evangelist
Oil on panel. 1610 - 1612
Rubens, Peter Paul

This is one of a series of twelve panels (P01646, P01647, P01648, P01649, P01650, P01651, P01652, P01653, P01654, P01655, P01656, P01657) that make up an apostolate that originally included a Savior of the World. The disciples of Christ are represented in the style the painter used around 1612-1613. These are large figures of forceful appearance and considerable plasticity, contrasting with the da

The Picnic
Oil on canvas. 1776
Goya y Lucientes, Francisco de
The Picnic
Oil on canvas. 1776
Goya y Lucientes, Francisco de

This tapestry cartoon represents a popular scene of Majos and Majas on the banks of Madrid´s Manzanares River. The Hermitage of the Virgin of the Port is just visible behind a group of trees on the right. Worthy of mention in this work are the still life in the foreground and the amorous play among the orange-seller and the Majos. The resultant tapestry was intended to hang in the dining roo

The Last Supper
Oil on canvas. 1593 - 1594
Carracci, Agostino
The Last Supper
Oil on canvas. 1593 - 1594
Carracci, Agostino

Together with his brother Annibale and his cousin Ludovico, Agostino Carracci founded the so-called Accademia degli Incamminati in Bologna. Its teachings promoted the study of nature and the work of the great Renaissance masters in order to avoid the overly-complex forms of Mannerist painting. While the colouring and handling of this canvas are influenced by Tintoretto, the monumental figures of t

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

Saint Andrew
Oil on panel. 1610 - 1612
Rubens, Peter Paul
Saint Andrew
Oil on panel. 1610 - 1612
Rubens, Peter Paul

This is one of a series of twelve panels (P01646, P01647, P01648, P01649, P01650, P01651, P01652, P01653, P01654, P01655, P01656, P01657) that make up an apostolate that originally included a Savior of the World. The disciples of Christ are represented in the style the painter used around 1612-1613. These are large figures of forceful appearance and considerable plasticity, contrasting with the da

Last Supper
Oil on canvas. Ca. 1586
Bassano, Francesco
Last Supper
Oil on canvas. Ca. 1586
Bassano, Francesco

Although Bettini noted a number of paternal precedents for this painting, it is a personal interpretation by Francesco of the gospel passage. Three versions are known, of which the Prado painting is the last. The first, dated about 1585, was auctioned by Sotheby´s of Florence in 1984, and there is a preparatory drawing of the figures of the elderly man with a bear and the page on the left (V

Series of the Conquest of Mexico
Oil, Shell work on canvas mounted on panel, panel. 1698
González, Juan; González, Miguel
Series of the Conquest of Mexico
Oil, Shell work on canvas mounted on panel, panel. 1698
González, Juan; González, Miguel

This panel inlaid with mother-of-pearl executed in New Spain is part of a group of twenty-four pieces that narrate the capture of Mexico.

Saint Peter Martyr
Oil on panel. 1491 - 1499
Berruguete, Pedro
Saint Peter Martyr
Oil on panel. 1491 - 1499
Berruguete, Pedro

The painting is the central panel of the altarpiece of Saint Peter Martyr from the Convent of Santo Tomás in Avila, together with four other panels in the Museum (P611, 614). The three altarpieces installed in the chancel of Santo Tomás in Ávila had a similar composition: a central panel with the image of the titular saint flanked by four lateral panels, two on either side, de

Saint Bartholomew
Oil on canvas. 1630 - 1635
Ribera, Jusepe de, lo Spagnoletto
Saint Bartholomew
Oil on canvas. 1630 - 1635
Ribera, Jusepe de, lo Spagnoletto

Series of Apostles became very popular during the Counter-reformation; they were usually half-length figures against a neutral background, holding their iconographical attributes. One of the most important series is the one that Ribera painted around 1630. It is mentioned for the first time in the Royal Collection towards the end of the eighteenth century and is made up of paintings of varying qua

Still Life with a silver tazza, a roemer and oysters
Oil on panel. 1632
Heda, Willem Claesz
Still Life with a silver tazza, a roemer and oysters
Oil on panel. 1632
Heda, Willem Claesz

The painting belongs to the type of still life designated by Vroom as monochrome banketjes, pieces first executed by Heda towards the end of the 1620s that became very popular in the Netherlands and abroad, as illustrated by the fact that there were two in the inventory of Rubens´s property. There are sufficient grounds to interpret these compositions as moralising, religious or allegorical works.

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