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This is a painting of rather mediocre quality for which the artists drew on several ricordi from the stock at the family bottega. To cite an example, the horse and pair of dogs on the right specifical [+]
This painting was purchased by Charles IV for his personal collection, but was later transferred to the royal collections. Its facture and composition are similar to those of the works of French paint [+]
Francis of Austria (1768-1835) was the son of Leopold and Maria Luisa, Grand Duke and Duchess of Tuscany, and the grandson of Charles III of Spain. He was the last Holy Roman Emperor, becoming the fir [+]
Taken together, these three works clearly convey a Eucharistic meaning. They depict Christ holding up the chalice and the Host (P00844), flanked by two Old Testament figures: King Melchizedek, bearing [+]
Ferdinand IV (1751-1825) was the third son of Charles VII of Naples and his wife, Maria Amalia of Saxony. When his father acceded to the Spanish throne as Charles III in 1759, he became king of Naples [+]
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, Mus [+]
This painter from Burgos represents the transition from the international Gothic style in which he was formed to the hispano-flemish style, whose models he adapts with his personal manner. The three f [+]
After denying that he was a follower of Christ, Saint Peter repented of his actions. This canvas deploys the chromatic restraint and compositional rigour of Velázquez’s early works, combined he [+]
This image of King Charles III was paired with a portrait of his wife, Maria Amalia of Saxony (P2201), although the image of the queen was not painted in her presence. Instead, it was invented on the [+]
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 [+]
Esta pintura pertenece a una serie, formada inicialmente por nueve Fiestas de Nuestra Señora, que el Cardenal Gaspar de Borja y Velasco (1580-1645), embajador ante la Santa Sede, envió desde Roma en 1 [+]
Double portraits of this type, which were common in the mid-nineteenth century, were generally painted when the son or daughter was presented in society. The mother, depicted as seated, represented an [+]
Este lienzo es una de las obras fundamentales de la pintura del Romanticismo español, así como el primer cuadro importante de este género realizado por Federico de Madrazo a lo largo de su fecundísima [+]
Inmerso ya en el academicismo neoclásico, el artista retrató a esta dama desconocida, cuya edad ronda la treintena, con su habilidad acostumbrada. Se trata de un busto de mujer joven que dirige su mir [+]
This exquisitely refined female portrait is imbued with the profound sense of poetry characteristic of the artist’s late works. Dressed in a classical style gown, she is set against a background of cl [+]
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 t [+]
Two banderoles, one above and the other below the central circle, contain Latin texts from Deuteronomy (32: 28-29 and 20), warning against the wages of sin. The upper banderole, between the tondos of [+]
Saint Joseph grasps Jesus’s arm to prevent him from taking fruit from the basket. This action is loaded with meaning, given the sacrificial and Eucharistic significance of both the Child’s violet tuni [+]
