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Still Life with Chocolate Service
Oil on canvas. 1770
Meléndez, Luis Egidio
Still Life with Chocolate Service
Oil on canvas. 1770
Meléndez, Luis Egidio

When describing the work of this prolific painter of still lifes, it is frequently said that Luis Meléndez included only commonplace objects in his canvases; this painting, in fact, offers the exception that proves the rule. Amid the various objects represented here are a porcelain cup and large saucer, or plate, which seem to be East Asian rather than Spanish. Indeed, they may be Cantonese

Still Life with a Dog and a Cat
Oil on panel. Ca. 1650
Luyckx, Carstian
Still Life with a Dog and a Cat
Oil on panel. Ca. 1650
Luyckx, Carstian

Luycks depicts a table with a basket of grapes, quince and other fruit as well as a hare and various dead birds. At the lower right a dog barking at a cat adds a note of life to the scene. Christiaan Luycks was a follower of Jan Fyt.

Still Life with Small Pears, Bread, Flask, Bowl and Dry Leaves
Oil on canvas. 1760
Meléndez, Luis Egidio
Still Life with Small Pears, Bread, Flask, Bowl and Dry Leaves
Oil on canvas. 1760
Meléndez, Luis Egidio

Sobre una tosca mesa de madera, descrita táctilmente con los pequeños detalles de la calidad del material, visibles en nudos y muescas, aparecen desordenadamente situadas unas cuantas “peritas de San Juan” y un pan en segundo término, junto al cual se eleva una alcarraza de loza muy blanca que bien pudiera ser andaluza. Se denomina popularmente “jarra de cuatro picos” y muestra una decoración de i

Smokers and Drinkers
Oil on panel. 1652
Teniers The Younger, David
Smokers and Drinkers
Oil on panel. 1652
Teniers The Younger, David

Three figures enjoy tobacco in an expressive manner in the foreground while an onlooker leans through the window. Around a table in the background, another group of figures drinks or plays cards. This is an example of scenes inside taverns with smokers, drinkers and players, which Teniers made during the sixteen thirties. He began with figures by his teacher, Adriaen Brouwer (1605/1606-1638), whic

The Supper at Emmaus
Oil on canvas. Ca. 1638
Rubens, Peter Paul
The Supper at Emmaus
Oil on canvas. Ca. 1638
Rubens, Peter Paul

Two pilgrims on their way to Jerusalem meet a traveler, whom the invite to dinner. When their unknown guest blesses the bread on the table, they recognize that he is Christ resurrected. This story is taken from the Gospel of Luke (24, 13-55). The painter sets the scene in a space that is open to an architectural landscape, with a fortress and a Baroque building out of which a figure is leaning. Th

Expulsion of the Merchants from the Temple
Oil on canvas. Ca. 1568
Bassano, Jacopo (Jacopo Dal Ponte)
Expulsion of the Merchants from the Temple
Oil on canvas. Ca. 1568
Bassano, Jacopo (Jacopo Dal Ponte)

Although for this first version Jacopo borrowed elements from early works such as the young man peeking his head round the column, which appears in the 1536 La fornace ardente (Bassano del Grappa, Museo Civico), he drew mainly from Stefano Cernotto´s Expulsion of the Merchants from the Temple (Venice, Accademia, deposited at the Ceni Foundation). Cernotto, an artist of Dalmatian origin who worked

Lady and Girl
Oil on panel. 1567
Cronenburch, Adriaen Van
Lady and Girl
Oil on panel. 1567
Cronenburch, Adriaen Van

These four portraits of women, two double ones and two single ones (P02073, P02074 and P02076) presented standing and down to kneelevel, use the same architectural setting. The series is given visual unity by the use of a central niche and two more, barely visible ones at the sides, separated by masonry pillars and decorated with small lions’ heads in the centre.This use of shared elements is prob

Dance on the Banks of the Manzanares
Oil on canvas. XVIII century
Bayeu y Subías, Ramón
Dance on the Banks of the Manzanares
Oil on canvas. XVIII century
Bayeu y Subías, Ramón

Portrait of a Lady
Oil on canvas. Ca. 1538
Mor, Anthonis
Portrait of a Lady
Oil on canvas. Ca. 1538
Mor, Anthonis

Atribuido a Antonio Moro, carece de inscripciones o de un escudo que permita identificar a esta dama joven, retratada por el pintor de Utrecht con el porte que corresponde a la nobleza de su cuna como en todos sus retratos. La muestra de pie y de más de medio cuerpo, en posición de tres cuartos. Como en otras ocasiones, la dirección de la mirada, desviada de la de la cabeza, no se dirige frontalme

Queen María Luisa in a Dress with hooped Skirt
Oil on canvas. Ca. 1789
Goya y Lucientes, Francisco de
Queen María Luisa in a Dress with hooped Skirt
Oil on canvas. Ca. 1789
Goya y Lucientes, Francisco de

A full-length portrait of Queen María Luis de Parma (1751-1819), wife of King Carlos IV (1748-1819), wearing a large feathered hat and French lace, with a seventeenth-century style bustle and the sort of large skirt flattened in front and back that replaced the farthingale. The only jewelry she wears is the Cruz Estrellada award. Her hand rests on a table covered with a tablecloth on which

Pedro Benítez and his Daughter María de la Cruz
Oil on canvas. Ca. 1820
Tegeo Díaz, Rafael
Pedro Benítez and his Daughter María de la Cruz
Oil on canvas. Ca. 1820
Tegeo Díaz, Rafael

In this portrait, Pedro Benítez sits informally on a chair, resting his left arm on its back while gazing frankly and directly at the viewer with whom he establishes an empathetic relationship. He is dressed in the fashion of the reign of Ferdinand VII, with a marvellous cravat emerging from his vest and a book in his right hand. Beside him, standing, is his daughter María de la Cruz

The King drinks
Oil on copperplate. 1650 - 1660
Teniers The Younger, David
The King drinks
Oil on copperplate. 1650 - 1660
Teniers The Younger, David

This work depicts the feast of Epiphany, as can be seen by the crown on the central figure, whose paintings show an Adoration of the Magi. According to Flemish folk tradition, in this feast, the king of the celebration is chosen by chance, being the one who finds a bean in his cake. Other Flemish artists, such as Jordaens, depicted this celebration in the same way, reflecting its most festive mome

Diego del Corral y Arellano
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y
Diego del Corral y Arellano
Oil on canvas. Ca. 1632
Velázquez, Diego Rodríguez de Silva y

Of the people with whom Velázquez must have had contact on a daily basis at the palace, many would have been high functionaries or skilled servants of the court. His own social aspirations included becoming a member of that professional group, which he eventually joined, and he made portraits of some of them, including two now at the Museo del Prado: Diego del Corral, shown here, and his wi

Cardinal Juan Everardo Nithard
Oil on canvas. 1674
Arco, Alonso del
Cardinal Juan Everardo Nithard
Oil on canvas. 1674
Arco, Alonso del

Born to an Austrian Catholic family, Juan Everardo Nithard (Falkenstein, 1607-Rome, 1681)became a Jesuit. His solid grounding in theology led Emperor Ferdinand III to appoint him confessor to his children, Leopold and Mariana, and when the latter married Philip IV, he accompanied her to Madrid in the same role. Widowed, Mariana became reagent for her son, Charles, until he came of age, and during

Saint Cecilia
Oil on canvas. After 1611
Grammatica, Antiveduto Della
Saint Cecilia
Oil on canvas. After 1611
Grammatica, Antiveduto Della

The Roman saint Cecilia was martyred for her faith. As the patron saint of music she is normally depicted playing an instrument, crowned with flowers and accompanied by the angel who defended her purity. The pronounced contrasts of light in this scene reveal the influence of Caravaggio that was evident in Grammatica’s work from 1605 onwards.

Last Supper
Oil on canvas. Ca. 1586
Bassano, Francesco
Last Supper
Oil on canvas. Ca. 1586
Bassano, Francesco

Although Bettini noted a number of paternal precedents for this painting, it is a personal interpretation by Francesco of the gospel passage. Three versions are known, of which the Prado painting is the last. The first, dated about 1585, was auctioned by Sotheby´s of Florence in 1984, and there is a preparatory drawing of the figures of the elderly man with a bear and the page on the left (V

The Temptations of Saint Anthony the Abbot
Oil on panel. 1647
Teniers The Younger, David
The Temptations of Saint Anthony the Abbot
Oil on panel. 1647
Teniers The Younger, David

Emblem of Death
Oil on panel. 1635 - 1640
Steenwijck, Pieter Van
Emblem of Death
Oil on panel. 1635 - 1640
Steenwijck, Pieter Van

Steenwijck brings to the vanitas a genre in which he specialised, according to the surviving inventories -the compositional structure, scheme, colour range and lighting characteristic of the so-called monochrome banketjes or monochrome still lifes of Willem Claesz. Heda (P2754, P2655 and P2756) and Pieter Claesz. (P2753). Accordingly, the objects are arranged on a simple wooden table that is half

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