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The Bivouac
Oil on panel. 1640 - 1650
Teniers The Younger, David
The Bivouac
Oil on panel. 1640 - 1650
Teniers The Younger, David

Of the artists who painted war scenes in the 17th century, none was as interested as David Teniers II in capturing images from behind the lines. With his customary tactile rigor, he depicts a plethora of military objects lying in the foreground with no apparent order and a handful of figures hanging cuirasses or helping their colleagues to remove their footgear. At the same time, he draws on one o

The Guard-Room
Oil on copperplate. 1640 - 1650
Teniers The Younger, David
The Guard-Room
Oil on copperplate. 1640 - 1650
Teniers The Younger, David

The foreground display of numerous military elements, banners, drums, cuirasses and weapons, leads to a genre painting showing some soldiers resting in the background. On the left of the composition, one of the pages works to hang up the soldiers' clothes. Here, as in his other works, Teniers shows his capacity to use light to achieve a perfect representation of the qualities of the objects depict

Le Corps de Garde
Oil on copperplate. 1650 - 1670
Teniers, Abraham
Le Corps de Garde
Oil on copperplate. 1650 - 1670
Teniers, Abraham

Scattered around the room we see a large drum and pieces of several sets of armour –one of them still on its stand– and pistols and harquebusses hanging on the wall, on which a flag is also draped. In the background, several men, perhaps soldiers in civilian clothes, are smoking and drinking. Abraham Teniers repeats, with few variants, some of the famous compositions of his brother, the famous Dav

The Viaticum
Oil on canvas. 1840
Alenza, Leonardo
The Viaticum
Oil on canvas. 1840
Alenza, Leonardo

Leonardo Alenza y Nieto was, without doubt, the painter par excellence of romantic costumbrismo from Madrid. (Costumbrismo refers to nineteenth-century genre scenes representing folkloric subjects and local customs.) Alenza is traditionally considered a follower of Goya for the application of his sharp, honest skills of observation to the least favoured social classes in the Spain of his era, at t

The Last Supper
Oil on canvas. 1605
Carducho, Bartolomé
The Last Supper
Oil on canvas. 1605
Carducho, Bartolomé

The Florentine Bartolomé Carducho was one of the founders of the Madrid school of painting. His work deploys a masterly use of drawing, an ordered sense of composition and a warm palette toned by a carefully controlled light. Rather than the more traditional image of the consecration of the Eucharist, in this Last Supper Carducho focuses on the Apostles’ varied reactions to Christ’s announc

The Agony in the Garden
Oil on pine panel. 1514 - 1519
Flandes, Juan de
The Agony in the Garden
Oil on pine panel. 1514 - 1519
Flandes, Juan de

In keeping with the Gospel according to Saint Luke (22: 39-46), Christ, far from the disciples, kneels down with his hands separated and prays to the Father to take away the cup of suffering he must drink, represented by the chalice on the rock. The three apostles who accompany him, Peter, John and James, are asleep. The painting comes from the main altar piece of the church of San Lázaro i

Diogenes searching for a Man
Oil on canvas. 1645 - 1655
Castiglione, Giovanni Benedetto
Diogenes searching for a Man
Oil on canvas. 1645 - 1655
Castiglione, Giovanni Benedetto

An inquiring and original artist, as well as an extraordinary draughtsman, Giovanni Benedetto Castiglione travelled throughout much of Italy (besides his native Genoa, he worked in Rome, Mantua, Venice, and possibly Parma, Florence, Bologna and Modena) absorbing and appropriating a great variety of tendencies and languages, from the vigorous naturalism of painters living in Genoa, such as Sinibald

Diogenes
Oil on canvas. 1750 - 1759
Petrini, Giuseppe Antonio
Diogenes
Oil on canvas. 1750 - 1759
Petrini, Giuseppe Antonio

Diogenes of Sinope (ca.412 - 323BC) was a Greek Cynic philosopher. He is depicted here with his lighted lantern, which he used during the day in his search for an “honest man” in the streets of Athens, indicating his general contempt for humanity. The figure’s meditative expression is comparable to depictions of saints and apostles from the previous century. Images of this type are characteristic

Judas betraying Christ
Oil on canvas. 1665 - 1670
Schalcken, Godfried -Painter- (Workshop Of)
Judas betraying Christ
Oil on canvas. 1665 - 1670
Schalcken, Godfried -Painter- (Workshop Of)

This Judas betraying Christ, from the Duke of Pastrana`s collection, is a version on canvas of an original signed panel (47.5 x 40 cm) formerly in the Duke of Bouillon`s collection, and later, according to Hofstede de Groot and Behermann, part of the Tronchin collection, where it is recorded until 1928. Loche and Behermann also refer to another version on canvas in the Eynard collection in Geneva

Act of Devotion by Rudolf I of Habsburg
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (Author Of The Original Work); Wildens, Jan (Author Of The Original Work); Real Establecimiento Litográfico de Madrid; Asselineau, Leon-Augusto; Madrazo y Agudo, José de
Act of Devotion by Rudolf I of Habsburg
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (Author Of The Original Work); Wildens, Jan (Author Of The Original Work); Real Establecimiento Litográfico de Madrid; Asselineau, Leon-Augusto; Madrazo y Agudo, José de

Es una litografía de Léon-Auguste Asselineau (1808-1889) que reproduce el lienzo pintado por Rubens, cuya firma aparece en la estampa, y por Jan Wildens (P01645). Rubens realizó las figuras y el paisaje fue pintado por Wildens. El título que aparece en la estampa es Acto religioso de Rodulfo, Conde de Hasburg. Esta estampa se entregaba con el cuadernillo CXXXIX acompañado de un texto explicativo d

The Adoration of the Magi
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Decraene, Florentino; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Adoration of the Magi
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Decraene, Florentino; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Florentino Decraene (1795-1852) que reproduce el lienzo de Rubens conservado en el Museo Nacional del Prado (P01638). Esta estampa se entregaba con el cuadernillo LXXXVI e iba acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo II de la serie editada por el Real Establecimiento Litográfico, dirigida por José de Madrazo, Colección litográfi

Act of Devotion by Rudolf I of Habsburg
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (Author Of The Original Work); Wildens, Jan (Author Of The Original Work); Asselineau, Leon-Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Act of Devotion by Rudolf I of Habsburg
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rubens, Peter Paul (Author Of The Original Work); Wildens, Jan (Author Of The Original Work); Asselineau, Leon-Augusto; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Léon-Auguste Asselineau (1808 –1889) que reproduce el lienzo pintado por Rubens, cuya firma aparece en la estampa, y por Jan Wildens (P01645). Rubens realizó las figuras y el paisaje fue pintado por Wildens. Esta estampa se entregaba con el cuadernillo CXXXIX acompañado de un texto explicativo de José Musso y Valiente. Iba encuadernada en el tomo III de la serie dirigida por J

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