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Josefa Coello de Portugal
Oil on canvas. 1855
Madrazo y Kuntz, Federico de
Josefa Coello de Portugal
Oil on canvas. 1855
Madrazo y Kuntz, Federico de

In the mid-nineteenth century Federico de Madrazo produced some of the most successful portraits of the Spanish bourgeoisie during the reign of Isabel II (1833-68), presenting them with the opulence that their social status demanded. In addition to his remarkable artistic ability, his female portraits are outstanding for their depiction of the accessories and adornments. These details are emphasis

The Infant Saint John the Baptist
Oil on canvas. Early XVIII century
Palomino y Velasco, Acisclo Antonio
The Infant Saint John the Baptist
Oil on canvas. Early XVIII century
Palomino y Velasco, Acisclo Antonio

Las representaciones de San Juan Bautista como niño tienen su origen en el Renacimiento italiano, pero los pintores de ese momento emparejaron generalmente su figura infantil con la del Niño Jesús, dentro de composiciones en las que casi siempre aparecía también la Virgen y se ponía de relieve una tierna relación entre los dos infantes. Andando el tiempo, los artistas comenzaron a dar un tratamien

Spring
Oil on canvas. Second half of the XVI century
Bassano (Workshop Of)
Spring
Oil on canvas. Second half of the XVI century
Bassano (Workshop Of)

The Seasons are the second of the three types of four canvas sets produced by the Bassano bottega in the 1570s. Like the Noah and Elements series, they were extraordinarily successful and many replicas were made. Between 1580 and 1600 the inventories of the Venetian court of Giudici di petizioni cite five series of the Seasons and a further 35 of paesi e animali, and, although there is no mention

Winter
Oil on canvas. Second half of the XVI century
Bassano (Workshop Of)
Winter
Oil on canvas. Second half of the XVI century
Bassano (Workshop Of)

The Seasons are the second of the three types of four canvas sets produced by the Bassano bottega in the 1570s. Like the Noah and Elements series, they were extraordinarily successful and many replicas were made. Between 1580 and 1600 the inventories of the Venetian court of Giudici di petizioni cite five series of the Seasons and a further 35 of paesi e animali, and, although there is no mention

Autumn
Oil on canvas. Second half of the XVI century
Bassano (Workshop Of)
Autumn
Oil on canvas. Second half of the XVI century
Bassano (Workshop Of)

The Seasons are the second of the three types of four canvas sets produced by the Bassano bottega in the 1570s. Like the Noah and Elements series, they were extraordinarily successful and many replicas were made. Between 1580 and 1600 the inventories of the Venetian court of Giudici di petizioni cite five series of the Seasons and a further 35 of paesi e animali, and, although there is no mention

Woman with two Boys at a Fountain (“Poor People at the Fountain”)
Oil on canvas. 1786 - 1787
Goya y Lucientes, Francisco de
Woman with two Boys at a Fountain (“Poor People at the Fountain”)
Oil on canvas. 1786 - 1787
Goya y Lucientes, Francisco de

A woman and two children collect water from a stone fountain. The bare fields and leafless tree in the background relate this scene to Winter (P0798). Romantic critics gave this painting its name, although nothing in the figures´ clothing suggest poverty. The young mother´s shawl, red stockings and black shoes with silver buckles indicate that she is a wealthy peasant. She looks with sweet underst

Queen Juana La Loca confined at Tordesillas with her daughter, the Infanta Catalina
Oil on canvas. 1906
Pradilla y Ortiz, Francisco
Queen Juana La Loca confined at Tordesillas with her daughter, the Infanta Catalina
Oil on canvas. 1906
Pradilla y Ortiz, Francisco

In keeping with his interest in Queen Juana “la Loca,” Pradilla painted this painting of the queen´s confinement in Tordesillas Castle, where she spent the rest of her life alongside the cadaver of her husband. Juana sits besides a window in a palace room with a Gothic fireplace. Lost in thought, she gazes at the viewer without noticing her daughter´s play. A lady in waiting and a servent on the r

Pilate washing his Hands
Tempera grassa on pine panel. 1540 - 1545
Correa de Vivar, Juan
Pilate washing his Hands
Tempera grassa on pine panel. 1540 - 1545
Correa de Vivar, Juan

Among the commissions that Correa made for the former monastery of the Bernardine fathers at Santa María la Real de Valdeiglesias are a group of three panels with scenes from the Passion of Christ. Their representations in circular compositions and many stylistic similarities indicate that they belonged to the same set. These three panels depict three successive stories: Pilate washing his

Masquerade
Oil on panel. 1767
Paret y Alcázar, Luis
Masquerade
Oil on panel. 1767
Paret y Alcázar, Luis

This painting, prepared by Paret in an excellent drawing (British Museum in London, inv. 1890,1209.50) and titled Baile in máscara (The Masked Ball), on a cartouche as a kind of label, is one of the earliest known works by the artist. It demonstrates great technical and compositional skill in arranging a subtly illuminated interior filled with a multitude of figures. The varied dress, poses

Giovanni Battista Caselli, Poet from Cremona
Oil on canvas. 1557 - 1558
Anguissola, Sofonisba
Giovanni Battista Caselli, Poet from Cremona
Oil on canvas. 1557 - 1558
Anguissola, Sofonisba

The identification of this elderly gentleman sitting at a desk in his study is borne out by the inscription on the fore edge of the book he is writing in, which displays the words "rime del casellio". Giovanni Battista Caselli was a poet and medal engraver who enjoyed certain prominence in Cremona during his lifetime, though there is little reliable information about him today. Nevertheless, Casel

The Spinner
Oil on panel. 1866
Domínguez Bécquer, Valeriano
The Spinner
Oil on panel. 1866
Domínguez Bécquer, Valeriano

A spinner sits on a stone in front of a landscape. The detailed rendering of the qualities of the materials is outstanding, revealing a careful study of each of the elements, of the clothing and of human types. This work entered the Prado Museum in 1878 when the Trinity Museum closed. It reentered the Prado after having been sent to the now-defunct Museum of Modern Art.

Saint Francis receives the Stigmata
Oil on canvas. Second half of the XVIII century
Castillo, José del
Saint Francis receives the Stigmata
Oil on canvas. Second half of the XVIII century
Castillo, José del

This is an important work among the small religious output of a painter particularly known for his tapestry cartoons. It also contributes to knowledge of the Madrid followers of Anton Raphael Mengs, whose influence is evident in the compositional clarity, naturalism of the flesh tones and expressivity of the saint, shown receiving the stigmata from a cherubim in his hands, feet and side.

Queen Joanna the Mad secluded in Tordesillas with her daughter, the infanta Doña Catalina
Oil on canvas. 1907
Pradilla y Ortiz, Francisco
Queen Joanna the Mad secluded in Tordesillas with her daughter, the infanta Doña Catalina
Oil on canvas. 1907
Pradilla y Ortiz, Francisco

This is a large replica of the splendid cabinet painting made by Pradilla a year earlier that is also kept in the Prado (P007493). This enlargement was commissioned by Luis de Ocharán – as the inscription on the back attests – and once again bears witness to the painter’s lifelong interest in the tormented figure of Lady Joanna of Castile. His working method – especially in his later years

Athena
White marble. Early I century
Roman Sculptor
Athena
White marble. Early I century
Roman Sculptor

This is a Roman copy of a statue of Athena, created between 450 and 440 B. C. by the Greek sculptor Myron, together with the figure of Marsyas. Installed on the Acropolis of Athens, between the Propyleus and the Parthenon, the original bronze group represented Athena who was angered by the attitude of the Marsyas who was shown in the attitude of picking up the double flute which she had rejected a

Case for plain rock crystal vessel with a lid and foliate mount
Leather, Wood, Gamuza. 1650 - 1689
Anonymous
Case for plain rock crystal vessel with a lid and foliate mount
Leather, Wood, Gamuza. 1650 - 1689
Anonymous

This case takes the form of the vessel for which it was made, a Plain rock crystal vessel with a lid and foliate mount (disappeared during the War of Independence). The exquisite pieces from the Dauphin´s Treasure are complemented by the custom-made cases that match the shape of each and allow them to be safely transported and counted, as each can be recognized by the contours of its corresponding

Case for boat-shaped jasper tazza
Metal, Leather, Wood, Suede. XVII century
Anonymous
Case for boat-shaped jasper tazza
Metal, Leather, Wood, Suede. XVII century
Anonymous

This case takes the form of the vessel for which it was made, a Boat-shaped jasper tazza (O58). The exquisite pieces from the Dauphin´s Treasure are complemented by the custom-made cases that match the shape of each and allow them to be safely transported and counted, as each can be recognized by the contours of its corresponding box. Their wooden structures are lined with wool and silk or taffeta

Case for rock crystal ewer with a handle in the form of a winged beast
Metal, Leather, Wood, Gamuza. 1650 - 1689
Anonymous
Case for rock crystal ewer with a handle in the form of a winged beast
Metal, Leather, Wood, Gamuza. 1650 - 1689
Anonymous

This case takes the form of the vessel for which it was made, a Rock crystal ewer with a handle in the form of a winged beast (O99). The exquisite pieces from the Dauphin´s Treasure are complemented by the custom-made cases that match the shape of each and allow them to be safely transported and counted, as each can be recognized by the contours of its corresponding box. Their wooden structures ar

Case for drinking vessel with six lobes and scroll-shaped handles
Metal, Fabric, Leather, Wood. 1690 - 1711
Anonymous
Case for drinking vessel with six lobes and scroll-shaped handles
Metal, Fabric, Leather, Wood. 1690 - 1711
Anonymous

This case takes the form of the vessel for which it was made, a Drinking vessel with six lobes and scroll-shaped handles (O88). The exquisite pieces from the Dauphin´s Treasure are complemented by the custom-made cases that match the shape of each and allow them to be safely transported and counted, as each can be recognized by the contours of its corresponding box. Their wooden structures are lin

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