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Adam and Eve
Oil on canvas. Ca. 1550
Titian (Tiziano Vecellio)
Adam and Eve
Oil on canvas. Ca. 1550
Titian (Tiziano Vecellio)

The painting is a faithful visualisation of Genesis 30, 9-19 in which Eve is blamed for accepting the forbidden fruit (although the type of fruit is not stated, Titian follows tradition and opts for an apple) and there is a reference to a second tree, a fig, whose leaves are used by Adam and Eve to cover their nakedness. Although we do not have a definite date for this painting, nor do we know the

Doña Blanca of Navarre handed over to the Captal of Buch
Oil on canvas. 1869
Rosales Gallinas, Eduardo
Doña Blanca of Navarre handed over to the Captal of Buch
Oil on canvas. 1869
Rosales Gallinas, Eduardo

One of the most important works by Rosales to have remained in private hands, this canvas exemplifies the artist’s adaptation of history painting to a small format characteristic of the end of his short life. It depicts the sad fate of John II of Aragon’s daughter, who was exiled on her father’s orders to France where she was eventually murdered by poisoning.

Maximina Martínez de Pedrosa, the Artist’s Mother
Oil on canvas. 1892
Rosales Martínez de Pedrosa, Carlota
Maximina Martínez de Pedrosa, the Artist’s Mother
Oil on canvas. 1892
Rosales Martínez de Pedrosa, Carlota

In 1887, Carlota Rosales became the first woman to be awarded a grant to study painting at the Spanish Academy in Rome, and upon her return to Madrid, she had an outstanding career. With frankness, directness and overt monumentality, the painter pays tribute with this likeness to her mother, the widow of Eduardo Rosales, who had made great efforts to preserve the artist’s memory and maintain his f

Portrait of a Woman
Oil on panel. Ca. 1514
Sarto, Andrea del (Andrea D'agnolo)
Portrait of a Woman
Oil on panel. Ca. 1514
Sarto, Andrea del (Andrea D'agnolo)

This half-length portrait of an anonymous woman is traditionally though to be of the painter´s wife, Lucrecia del Fede, who he married in 1518. While there are no conclusive arguments in that regard, the interpretation has led some scholars to date this work from just before the wedding. Andrea del Sarto studied in his native city with Piero de Cosimo and Raffaellino del Garbo, but he was soon dra

Venus with an Organist and a Dog
Oil on canvas. Ca. 1550
Titian (Tiziano Vecellio)
Venus with an Organist and a Dog
Oil on canvas. Ca. 1550
Titian (Tiziano Vecellio)

In contrast to the paintings created for the Camerino d´Alabastro and the poesie made for Philip II, the canvases on the subject of Venus do not form a homogenous group as they were not painted for one client, nor were they designed to be shown together. In fact, the five paintings on this subject are variations on one idea. Located in a villa on the Venetian terra ferma, they depict Venus reclini

Lucretia killing herself
Oil on canvas. First half of the XVII century
Reni, Guido (And Workshop)
Lucretia killing herself
Oil on canvas. First half of the XVII century
Reni, Guido (And Workshop)

La historia de Lucrecia, escrita por Tito Livio durante el reinado de Augusto, sirvió para explicar el final de la monarquía y la instauración de la República del Estado romano. La heroicidad descrita por el historiador en la actitud de esta dama, ante una situación de injusticia y deshonra, la convirtió en ejemplo del orgullo civil en Roma. Lucrecia, esposa del cónsul Colatino, estando este últim

The Death of Lucretia
Oil on canvas. Last third of the XVI century
Cambiaso, Luca (Attributed To)
The Death of Lucretia
Oil on canvas. Last third of the XVI century
Cambiaso, Luca (Attributed To)

The Roman patrician lady Lucretia killed herself after being raped by the son of the King of Rome, an act that brought about the fall of the monarchy and the proclamation of the Republic in 510 B. C.

The Death of Lucretia
Oil on canvas. 1871
Rosales Gallinas, Eduardo
The Death of Lucretia
Oil on canvas. 1871
Rosales Gallinas, Eduardo

After revolutionizing the painting of his time with Queen Isabel la Católica dictating her Last Will and Testament (P4624), Rosales again shook the very foundations of the Spanish art world when he presented the present historical canvas at the 1871 Exposición Nacional. This is the work that he always considered his masterpiece, and it earned him a first medal. It was always very pol

The death of Lucretia
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous
The death of Lucretia
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous

Este dibujo y el (D01727), son variantes de la misma composición, fueron relacionados por los Suida con el cuadro Lucrecia, de Cambiaso, fechable hacia 1575, que se encontraba antiguamente en una colección particular de Lugano, posteriormente en la colección Suida Manning, Nueva York, y actualmente en el Jack S. Blanton Museum of Art, University of Texas, Austin. Una pintura atribuida a Cambiaso q

The death of Lucretia
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous
The death of Lucretia
Pencil, Pencil ground, Grey-brown ink, Wash on paper. XVI century
Anonymous

This drawing and D1728, which are variants of the same composition, were connected by the Suidas with Cambiaso´s painting of Lucretia, datable c. 1575, formerly in a private collection, Lugano, then in the Suida Manning Collection, New York, and now in the Jack S. Blanton Museum of Art, at the University of Texas, Austin. A painting by Cambiaso showing the figure three-quarter length and in a clos

The Death of Lucretia / Joseph’s Dream
Pencil, Pencil ground, Grey-brown wash, White lead on yellow laid paper. XVIII century
Maella, Mariano Salvador
The Death of Lucretia / Joseph’s Dream
Pencil, Pencil ground, Grey-brown wash, White lead on yellow laid paper. XVIII century
Maella, Mariano Salvador

Seguramente obra bastante juvenil, por lo alargado del canon y lo quebrado del trazo que aparece igual en algunos de los dibujos de los concursos que conserva la Academia.En ella se representa en el centro, hacia la izquierda, a Lucrecia que sentada en el lecho se clava el puñal en el pecho, ante el estupor de cuatro guerreros armados, tres a la derecha de la composición y uno a la izquierda. Fond

Love Song
Marble. 1898
Benlliure Gil, Mariano
Love Song
Marble. 1898
Benlliure Gil, Mariano

In this allusion to young love, a nude girl of idealised beauty raises her hands to her face in a mischievous gesture, smiling at a group of children dancing around her. The sculpture displays Benlliure’s virtuoso technique, his fondness for portraying children, and his interest in the study of movement. The pedestal is also decorated with allegorical reliefs in the ancient Greek tradition.

Octagonal coffer covered in enamelled gold with engravings and cameos
Amethyst, Agate, Cowry, Silver gilt, Prasiolite, Garnet, Bloodstone, Iron, Lapis lazuli, Gold gilt, Peridot, Sardonyx, Enamel. 1630 - 1670
Delabarre, Pierre (Circle Of)
Octagonal coffer covered in enamelled gold with engravings and cameos
Amethyst, Agate, Cowry, Silver gilt, Prasiolite, Garnet, Bloodstone, Iron, Lapis lazuli, Gold gilt, Peridot, Sardonyx, Enamel. 1630 - 1670
Delabarre, Pierre (Circle Of)

The coffer is a key item in any study of French silverware and European collecting. Initially part of Cardinal Mazarin’s collection, on his death it was sold at auction, subsequently being acquired by the Grand Dauphin. The gold crafting links this piece to a group of works associated with the so-called Maestro of Dragons, Pierre Delabarre, a Parisian silversmith who qualified as a master craftsma

Ovate agate vessel with two bands of cameos
Gold, Agate, Chalcedony, Silver gilt, Enamel. S XVI - XVII century
Belle, Josias
Ovate agate vessel with two bands of cameos
Gold, Agate, Chalcedony, Silver gilt, Enamel. S XVI - XVII century
Belle, Josias

Vessel formed by two pieces of agate, fourteen cameos and three partly enamelled gold mounts. With an ovate profile, its body consists of two counterposed bell-shaped agate bowls joined by a strip of gold with mouldings and overlays of flowers and leaves enamelled in white, with touches of black and purple, red, blue, and translucent green. Alternating with these are upright ovals with ten incrust

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