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Portrait of a Gentleman
Oil on canvas. 1618 - 1623
Maíno, Fray Juan Bautista
Portrait of a Gentleman
Oil on canvas. 1618 - 1623
Maíno, Fray Juan Bautista

Nothing is known of this middle-aged gentleman with his black doublet and cloak, against which the wide, segmented ruff or gola and the delicate white cuff at his right wrist stand out. At his waist are a belt and a sword belt, both very plain, though essential accessories of aristocratic dress in Spain in the Golden Age. The sitter is depicted three-quarter length and lit from the side with a lig

Aureliano de Beruete y Moret, Son
Oil on canvas. 1902
Sorolla y Bastida, Joaquín
Aureliano de Beruete y Moret, Son
Oil on canvas. 1902
Sorolla y Bastida, Joaquín

Sorolla painted this portrait of Aureliano de Beruete y Moret (1876–1922) the same year he portrayed his father, the painter Aureliano de Beruete, and a year after he painted his mother, María Teresa Moret. In this work—sold to the Beruete family for two thousand five hundred pesetas—however, the artist resorted to a different and more modern format whose narrow verticality more adequately

Execution of Torrijos and his Companions on the Beach at Málaga
Oil on canvas. 1888
Gisbert Pérez, Antonio
Execution of Torrijos and his Companions on the Beach at Málaga
Oil on canvas. 1888
Gisbert Pérez, Antonio

The finest work of all Gisbert’s production, this impressive painting is also unarguably one of the most beautiful of all 19th-century Spanish history paintings. Moreover, it is one of the greatest political manifestos of all Spanish painting in defense of human freedom crushed by authoritarianism and one of the very few cases in which a clear propagandistic message was directly inspired by govern

Family Portrait
Oil on panel. 1583
Key, Adriaen Thomasz.
Family Portrait
Oil on panel. 1583
Key, Adriaen Thomasz.

This group portrait of a middle-class Flemish family, whose identity is now unknown, is one of Key’s finest works in this genre. It has the firm handling evident in his portraits of the 1580s, revealing his outstanding technical ability to convey textures and his mastery of light. Its innovative character is evident when compared with other Flemish family portraits. Key depicts the seven sitters (

Emperor Maximilian II
Oil on canvas. 1550
Mor, Anthonis
Emperor Maximilian II
Oil on canvas. 1550
Mor, Anthonis

The son of Ferdinand of Austria, then King of Romans and next emperor (1556-1564) of the Germanic Holy Roman Empire, and his wife Anna Jagellonica, queen of Hungary and Bohemia, was born in Vienna on 1 August 1527. He was educated in Spain alongside his cousin, the future Philip II, and from an early age practiced the profession of arms, later on entering combat on the side of Emperor Charles V (1

Portrait of King Charles IV as Prince of Asturias
Oil on canvas. Ca. 1765
Mengs, Anton Raphael (Replica)
Portrait of King Charles IV as Prince of Asturias
Oil on canvas. Ca. 1765
Mengs, Anton Raphael (Replica)

Mengs had a profound influence on the younger generation of Spanish painters, notably on the Bayeus, Maella, Inza, Goya and Vicente López Portaña. His Neoclassical style was diametrically opposed to Tiepolo´s, whose style and paintings were falling out of fashion. The Spanish Collections hold many of his portraits. He was a refined and skyfull court painter with exquisite technique,

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

The Rendezvous
Oil on canvas. 1780
Goya y Lucientes, Francisco de
The Rendezvous
Oil on canvas. 1780
Goya y Lucientes, Francisco de

The Rendezvous belongs to a series of tapestry cartoons prepared for the decoration of the anteroom to the bedchamber of the Prince and Princess of Asturias in the Palace of El Pardo. These were commissioned together with the cartoons for the bedchamber in October, 1777, when Goya was still finishing the cartoons for the dining room. The bedchamber and its anteroom were contiguous, separated only

The Prince of Asturias, the future Charles IV
Oil on canvas. Ca. 1765
Mengs, Anton Raphael
The Prince of Asturias, the future Charles IV
Oil on canvas. Ca. 1765
Mengs, Anton Raphael

This portrait of Charles IV as the Prince of Asturias has as its pendant a portrait of his wife, María Luisa of Parma, also in the Museo del Prado (P2189). Anton Raphael Mengs had come to Spain in 1761 at the invitation of Charles III in order to serve as pintor de camára, or court painter, the most prestigious appointment for an artist in the service of the king. He probably produce

Garden Scene with Dog
Oil on canvas. 1660 - 1670
Hiepes, Tomás
Garden Scene with Dog
Oil on canvas. 1660 - 1670
Hiepes, Tomás

Painted around 1660-1670, during the transition between the reigns of Philip IV (1621-1665) and Charles II (1665-1700), this painting clearly conveys the characteristics of Valencian still lifes from the second half of the Siglo de Oro. Its agreeable, decorative and jovial play of elements captures the joy of a Mediterranean garden. At the same time, it is an accomplished example of the repertoire

Joanna of Austria, sister of King Philip II of Spain
Oil on canvas. 1560
Mor, Anthonis
Joanna of Austria, sister of King Philip II of Spain
Oil on canvas. 1560
Mor, Anthonis

Joanna of Austria (1535-73) was the daughter of Emperor Charles V, and sister of King Philip II of Spain. In 1552, she married her first cousin, the Portuguese Prince John Manuel (Joao Manuel). The prince died in January 1554, days before Joanna gave birth to their son, Sebastian, who would become King of Portugal from 1568 to 1578. In July 1554, Joanna returned to Spain to serve as regent in the

Saint John the Baptist
Oil on panel. First quarter of the XVII century
Loarte, Alejandro de (Attributed To)
Saint John the Baptist
Oil on panel. First quarter of the XVII century
Loarte, Alejandro de (Attributed To)

The image of Christ´s precursor occupies the center of the panel with an iconography consistent with Medieval tradition. The strong lighting of certain parts of his elongated figure reflect the painter´s interest in an incipient chiaroscuro and the similarities to El Greco´s models suggest he was trained in beginning-of-the-century international mannerism.The saint wears a short

The Main Chapel of San Juan de los Reyes, Toledo
Pencil on parchment. 1485 - 1490
Guas, Juan
The Main Chapel of San Juan de los Reyes, Toledo
Pencil on parchment. 1485 - 1490
Guas, Juan

A cross-section of the sanctuary of the church at the Monastery of San Juan de los Reyes in Toledo, founded by queen Elizabeth I in 1477. This image of the proposed construction differs considerably from the finished building, which lacks the clerestory or gallery and has a much wider and more simply ribbed dome. The final decoration of the squinches and windows is completely different, as the lat

Saint John the Evangelist
Red chalk on parchment. XVII century
Viani, Giovanni Maria
Saint John the Evangelist
Red chalk on parchment. XVII century
Viani, Giovanni Maria

Dibujo en el que se representa a San Juan Evangelista en pie, de frente, que muestra un rollo extendido, mientras que a sus pies se representa el águila; la composición se encuentra enmarcada a sanguina. Lleva una atribución antigua a Viani, que se debe de referir a Giovanni María, ya que aparece la grafía característica de Flaminio Torri, su maestro. Es estudio de gran precisión y delicadeza, pos

Self-portrait
Pencil, Grey wash, Pencil strokes on parchment. Ca. 1775
Servidori, Domenico Maria
Self-portrait
Pencil, Grey wash, Pencil strokes on parchment. Ca. 1775
Servidori, Domenico Maria

El personaje de frente, la mano derecha apoyada en unos libros, sostiene una pluma. Por la edad que Servidori parece tener en este autorretrato, unos cincuenta años, el dibujo podría fecharse hacia 1775. El artista muestra de forma preeminente en la composición su mano derecha que sostiene la pluma, el instrumento de su arte. Un autorretrato juvenil, a pluma, se conserva en el Museo Británico (Tex

The Last Supper
Gouache / tempera on parchment, beech panel. Ca. 1500
Alexandre, Ruperto (Attributed To)
The Last Supper
Gouache / tempera on parchment, beech panel. Ca. 1500
Alexandre, Ruperto (Attributed To)

La miniatura principal representa una Última Cena, en una escena de considerables dimensiones para la miniatura española del período (116 x 148 mm). Sigue la iconografía habitual, dentro de un esquema aproximadamente simétrico. Cristo aparece en el centro, con san Juan apoyado en su regazo. A la derecha cinco apóstoles, del que el único reconocible es san Pedro, con los brazos en alto, ante la sor

Saint Crispin and Saint Crispinian
Pencil ground, Black ink, Grey-brown wash on dark yellow paper. First third of the XVII century
Anonymous
Saint Crispin and Saint Crispinian
Pencil ground, Black ink, Grey-brown wash on dark yellow paper. First third of the XVII century
Anonymous

The scene takes place in a shoe shop where one of the saints sits on a stool and sews a shoe. The other is standing while cutting leather on the bench. The Virgin is depicted in heavenly glory with the Christ Child seated on her knees. This drawing is likely to be from the first third of the 17th century. It has been executed by employing a technique somewhat reminiscent of Pacheco’s drawings and

La Celestina and the lovers
Brush, Pencil, Coloured wash on laid paper. 1784
Paret y Alcázar, Luis
La Celestina and the lovers
Brush, Pencil, Coloured wash on laid paper. 1784
Paret y Alcázar, Luis

This title by which this drawing is known, La Celestina and the lovers, only reveals part of the scene that Paret depicts with extraordinary precision and thoroughness, as is typical of his work. Gaya Nuño has already pointed out that the old woman resembles a witch, as is evidenced by some of the objects arranged around her. But rather than a witch, she is a sorceress, a popular type of ch

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