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The Surrender of Jülich
Oil on canvas. 1634 - 1635
Leonardo, Jusepe
The Surrender of Jülich
Oil on canvas. 1634 - 1635
Leonardo, Jusepe

The capitulation of the Rhenish city of Jülich was one of the most outstanding events at the beginning of the Thirty Years War (1618-1648). Occupied by Maurice of Nassau’s French troops since 1610, Jülich surrendered to an army led by the Marquis of Los Balbases, General Ambrosio de Spínola, who would later triumph at Breda. This event took place after the truce established in 160

The Martyrdom of Saint Sebastian
Oil on canvas. Ca. 1637
Leonardo, Jusepe
The Martyrdom of Saint Sebastian
Oil on canvas. Ca. 1637
Leonardo, Jusepe

In contrast to most depictions of this episode, here Saint Sebastian has not yet been tied to the tree. Two executioners prepare his martyrdom. The divine light falling on him allows the artist to focus on the expression of the saint’s face and the modelling of his body.

The Beheading of Saint John the Baptist
Oil on canvas. Ca. 1637
Leonardo, Jusepe
The Beheading of Saint John the Baptist
Oil on canvas. Ca. 1637
Leonardo, Jusepe

En un lienzo de formato cuadrado el artista ha representado el momento en que el verdugo, por orden de Herodes, quien satisface el deseo de Salomé y la venganza de Herodías, su madre (Marcos, 6 14-29), se dispone a descargar la espada sobre el cuello del Bautista, que, de rodillas y rezando, espera el momento de la ejecución. La composición, no exenta de teatralidad, está formada por tres grupos i

The Recapture of Bahía de Todos los Santos
Oil on canvas. 1634 - 1635
Maíno, Fray Juan Bautista
The Recapture of Bahía de Todos los Santos
Oil on canvas. 1634 - 1635
Maíno, Fray Juan Bautista

The Recapture of Bahía de Todos los Santos was commissioned from Maíno towards the end of 1634. The artist was still working on it on 24 March 1635, date on which he received the first 18,600 maravedíes on account, corresponding to an order of payment from the Chief Notary of the Council of Aragon, Jerónimo de Villanueva (died 1653). Maíno completed the painting

Theodoric, King of the Visigoths
Oil on canvas. 1635
Castello, Félix
Theodoric, King of the Visigoths
Oil on canvas. 1635
Castello, Félix

This canvas was part of an unfinished series of Visigoth monarchs painted for the Buen Retiro Palace, which also included works by Vicente Carducho, Jusepe Leonardo, Antonio Pereda and Andrés López. That palace’s 1703 inventory lists only thirteen paintings of Gothic kings from this series commissioned after 1634, when the series of battle paintings for the same palace’s Hall of Real

The Liberation of Brisach
Oil on canvas. 1634 - 1635
Leonardo, Jusepe
The Liberation of Brisach
Oil on canvas. 1634 - 1635
Leonardo, Jusepe

This canvas depicts the liberation of the city of Brisach on October 16, 1633, following its besiegement by the Protestant Count of the Rheingau, Otto Ludwig von Salms. Its liberation marked the culmination of the Duke of Feria’s 1633 campaign to maintain free communication between the Milanesado, Germany and the Netherlands. The city of Brisach played a strategic role in this line of communicatio

Two Kings of Spain
Oil on canvas. Ca. 1641
Cano, Alonso
Two Kings of Spain
Oil on canvas. Ca. 1641
Cano, Alonso

Along with P00632, this is the only surviving testimony to the series of likenesses of kings that adorned the monarch’s bedroom or Room of Furies at the Alcázar in Madrid, and was later at the Hall of Comedies or Golden Hall. The painters commissioned for this series were: Félix Castello, Jusepe Leonardo, Antonio Arias, Francisco Camilo, Francisco Fernández, Pedro Nú&nt

The Birth of the Virgin
Oil on canvas. Ca. 1642
Leonardo, Jusepe
The Birth of the Virgin
Oil on canvas. Ca. 1642
Leonardo, Jusepe

Jusepe Leonardo was born in Calatayud in 1601. He soon moved to Madrid, became a pupil of Pedro de las Cuevas and lived in his house between 1616 and 1621. While collaborating on the decoration of the Buen Retiro Palace in 1635, he was in constant contact with the court’s painters and collections, which informed him of the influence of Velázquez. His refined sensibility to colour makes him

Gaspar de Guzmán, Count-Duke of Olivares, on Horseback
Oil on canvas. Ca. 1636
Velázquez, Diego Rodríguez de Silva y
Gaspar de Guzmán, Count-Duke of Olivares, on Horseback
Oil on canvas. Ca. 1636
Velázquez, Diego Rodríguez de Silva y

Along with Philip IV and Velázquez, the third name intimately associated with the Buen Retiro Palace is Gaspar de Guzmán, Count-Duke of Olivares (1587-1645). When Philip IV took the throne in 1621 he was only sixteen years old, and he delegated a considerable part of his work as ruler to Olivares, who was then thirty-four and had proved to be a very skilled politician with an extraor

The Surrender of Jülich
Pencil, Pencil ground, Grey-brown wash on yellow paper. 1634
Leonardo, Jusepe
The Surrender of Jülich
Pencil, Pencil ground, Grey-brown wash on yellow paper. 1634
Leonardo, Jusepe

Preparatorio para el grupo principal del lienzo pintado en 1634 para el Salón de Reinos del Buen Retiro, hoy en el Museo del Prado (P00858). Los dos generales a caballo son Ambrosio Spínola y Felipe Messia de Guzmán, marqués de Leganés. La presencia del primero ha hecho que en alguna ocasión se interpretase lienzo y dibujo como representación de la Rendición de Breda, por aquel general. (Texto ext

Saint Isidore the Labourer
Pencil ground, Grey-brown wash on yellow laid paper. First half of the XVII century
Leonardo, Jusepe
Saint Isidore the Labourer
Pencil ground, Grey-brown wash on yellow laid paper. First half of the XVII century
Leonardo, Jusepe

In the foreground of the drawing, the Saint is depicted ploughing with a pair of oxen. In the background, the angels drive the yoke. Sánchez Cantón documented it as anonymous and having been produced around 1660–70. Nevertheless, its association with the personal style of Cajés, Leonardo’s master, is clear. The cut-off inscription undoubtedly refers to Leonardo.

The Surrender of Jülich
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Surrender of Jülich
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut

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