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This is one of Bellevois`s characteristic seascapes designed to capture the atmospheric effects of the North Sea. Accordingly, in the rendering of the various elements -figures, vessels and background [+]
This complex and convincing composition painted from a frontal perspective appears to be divided into two well-connected halves. In the lower half, which is nearer the viewer, the artist has placed a [+]
Like its companion (P7906), this piece was acquired by the Museo del Prado with an attribution to Fernández el Labrador (doc. 1629-1657), a painter specialized in depictions of grapes. However, [+]
Juan Fernández received the nickname “El Labrador” (“The Farmworker”) because he lived in the country, where he specialized in paintings of fruit. Their quality made them popular in the English [+]
Sketch for the fresco adorning the ceiling of the Sala de Maria Luisa in the Casa del Labrador at Aranjuez. Beneath Flora in flight is the Earth goddess, Cybele, to whom some farmers pay their respect [+]
Because this work is signed and dated, it reveals the existence of a painter by the name of Felipe Ramírez, although art historians know virtually nothing else about him. This lovely example of [+]
Mounted on a white steed and flanked by an angel bearing a flag, Saint James gallops over a multitude of fallen Moors and horses. The battle scene occupies a rocky landscape in the middle ground. This [+]
Goya never actually painted the cartoon for this scene, which is one of his masterpieces, and the most popular of a series intended for the bedroom of the infantas in Madrid's El Pardo Palace. The pro [+]
Standing on clouds at the center of the composition, Moses points toward the sunbeams shining down from the sky. Beneath him, Abraham and Isaac are accompanied by the sacrificial lamb. To the left of [+]
Before a dark background, four bunches of grapes are displayed to the viewer in this painting. The bunch occupying the central position, larger than the rest, is coloured blue-violet, while the other [+]
Like its pair (P7905), this canvas was acquired as a work by Juan Fernández el Labrador (documented 1629-57), who specialised in painting grapes. However, the similarities between the pair in t [+]
This work repeats the canvas painted in 1613 and 1614 for the Arrigoni Chapel at San Polo Maggiore in Bologna, although there are some differences in the foreground, the Heavens with Putti and the obj [+]
This small and simple floral composition was attributed to Francisco de Zurbarán before it was reassigned to El Labrador. The artist has depicted the flowers (pinks, lilies and a rose) as stron [+]
Corrado Giaquinto had frequent contacts with Spain as of 1735 or earlier. But the death of Jacopo Amigoni in 1752 led to his being summoned to Madrid the next year. During his stay in the Spanish Cour [+]
The great charm of this still life has evidently long been apparent to lovers of painting, since it is first recorded in the collection of Gaspar de Haro, later VII Marqués del Carpio (1651), w [+]
This canvas presents one of the most persistent subjects in Pedro Orrente´s substantial output: the Nativity and the Adoration of the shepherds, a popular theme among seventeenth-century Spanish [+]
Corrado Giaquinto had frequent contacts with Spain as of 1735 or earlier. But the death of Jacopo Amigoni in 1752 led to his being summoned to Madrid the next year. During his stay in the Spanish Cour [+]
A depiction of one of the miracles of Saint Isidore the Laborer (12th century), the patron saint of Madrid, who made many miracles. Here, after his son had fallen into a well, the water miraculously r [+]
