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The penitent Saint Jerome
Oil on panel. 1525 - 1530
Anonymous
The penitent Saint Jerome
Oil on panel. 1525 - 1530
Anonymous

Located against a background landscape resembling those of Joachim Patinir (c. 1480-1524), Saint Jerome kneels in prayer before a crucifix and skull. In this case he is not depicted inside a cave or by its entrance. His red robe and hat identify him as a cardinal while the book refers to his role as a Father of the Church and the translator of the Bible into Latin. Behind him is the lion who accom

The Mystic Marriage of Saint Catherine, with Saint Ursula and a Donor
Oil on panel. Ca. 1520
Anonymous
The Mystic Marriage of Saint Catherine, with Saint Ursula and a Donor
Oil on panel. Ca. 1520
Anonymous

This composition retains the structure of traditional triptychs, but the landscape links the three panels together to form a single scene, thus including the pilgrim-donor and Saint Ursula in the Mystic Marriage. The landscape includes scenes relating to the respective figures: walking pilgrims, the martyrdom of Saint Catherine, the Massacre of the Innocents and the Flight into Egypt.

View of the Waterfall at Tivoli, with Fishermen
Oil on canvas. 1639 - 1641
Anonymous
View of the Waterfall at Tivoli, with Fishermen
Oil on canvas. 1639 - 1641
Anonymous

The painting resembles the View of Tivoli, in size, type of support and subject matter. Indeed, the overhanging rock in the foreground beside the fishermen would appear to be inspired by that beneath which the shepherds are located. Moreover, the tree that emerges in the upper left part is similar to the one that stands between the two temples in View of Tivoli. In the 1701 inventory both works, t

The Transit of Mary Magdalene
Oil on canvas. Late XVII century
Anonymous
The Transit of Mary Magdalene
Oil on canvas. Late XVII century
Anonymous

The saint’s figure, with long blond tresses, occupies the center of the scene. Gazing at the heavens, she crosses her hands across her bosom in prayer. Her worn clothing is enveloped in large floating robes whose movement is decidedly diagonal, and the cloud on which she kneels is carried towards Heaven by Coello’s customary cherubs. Some hold the attributes that always accompany her when she is r

Noah after the Flood
Oil on canvas. Second half of the XVI century
Anonymous
Noah after the Flood
Oil on canvas. Second half of the XVI century
Anonymous

If we compare this painting with the Animals Entering the Ark (P22), we find that the iconographic elements which identify the subject have been shifted to a middle plane -Noah thanking God for bringing the flood to an end by means of a burnt offering (Genesis 8: 20-22) and the appearance of the rainbow as a symbol of the covenant between God and man (Genesis, 9: I-17)- while the foreground depict

Landscape with Rider
Oil on panel. 1660 - 1665
Anonymous
Landscape with Rider
Oil on panel. 1660 - 1665
Anonymous

Until 1972, the Museo del Prado catalogues record that the signature of M. Hobbema (with the MH intertwined) appears on the tree stump. In the 1985 catalogue this signature is said to be apocryphal. Whatever the case, recent studies of the picture have been unable to reveal any such signature. Valdivieso (1973) considers it to be an original by Jan Looten (1618-ca. 1681). The composition is remini

Rest on the Flight into Egypt
Oil on panel. 1520 - 1530
Anonymous
Rest on the Flight into Egypt
Oil on panel. 1520 - 1530
Anonymous

Aún no se ha identificado a su autor; pero en algunos aspectos coincide con las obras salidas del taller de Joos van Cleve, que también colaboró con Patinir representando figuras para sus escenas de paisaje, igual que hizo Quintin Massys en Las tentaciones de San Antonio Abad (P1615). Por lo que se refiere al paisaje, las obras de van Cleve están mucho más trabajadas en superficie que las de Patin

Infernal Landscape
Oil on panel. Ca. 1565
Anonymous
Infernal Landscape
Oil on panel. Ca. 1565
Anonymous

After Bosch’s death, his style remained very successful both in the Netherlands and in Italy and Spain. This picture, painted nearly half a century after his death, is an example of the many that were produced in imitation of his style. In this case, the scene is inspired by the representation of Hell in The Garden of Earthly Delights, which also belongs to the Prado.

The Aldobrandini Garden at Frascati
Oil on canvas. XVII century
Anonymous
The Aldobrandini Garden at Frascati
Oil on canvas. XVII century
Anonymous

The earliest documentary reference to this painting appears in the 1772 inventory of the Palace of the Buen Retiro, in which the setting is attributed to Viviano Codazzi (1603/4-1672) and the figures to Aniello Falcone (1607-1656). However, this architectural view has traditionally been considered part of the set of landscapes -with hermits and bucolic scenes- commissioned in Rome to decorate the

Landscape with Hunters
Oil on canvas. Early XVII century
Anonymous
Landscape with Hunters
Oil on canvas. Early XVII century
Anonymous

The Rest on the Flight into Egypt
Oil on canvas. XVII century
Anonymous
The Rest on the Flight into Egypt
Oil on canvas. XVII century
Anonymous

Landscape with Figures
Oil on panel. XVII century
Anonymous
Landscape with Figures
Oil on panel. XVII century
Anonymous

Saint Basil
Oil on canvas. Second third of the XVII century
Anonymous
Saint Basil
Oil on canvas. Second third of the XVII century
Anonymous

This canvas represents the full body of a bishop from the front, wearing an alb, a rich brocade chasuble and a mitre. He appears in a meditative pose while reading a book, which he holds in his left hand. On his right, he holds the pastoral crozier, which is decorated with a green cloth sleeve, in his right hand. The figure is located in the foreground, in an exterior dominated by a very open land

Landscape
Pencil, Grey-brown ink on dark yellow paper. XVIII century
Anonymous
Landscape
Pencil, Grey-brown ink on dark yellow paper. XVIII century
Anonymous

Dibujo de mano de imitador de Guercino del s. XVIII, del que se conservan numerosos (véase D00788) apuntes repartidos en las mas importantes colecciones europeas y americanas, como originales del artista boloñés (Texto extractado de Mena Marqués, M.: Catálogo de dibujos. VI. Dibujos italianos del siglo XVII, Museo del Prado, 1983, p. 107).

Rest on The Flight into Egypt
Black chalk, Pencil, Grey wash on dark yellow paper. Late XVIII century
Anonymous
Rest on The Flight into Egypt
Black chalk, Pencil, Grey wash on dark yellow paper. Late XVIII century
Anonymous

En el anverso, la Virgen sentada con el Niño, bajo una palmera. Dos ángeles arrodillados le ofrecen una bandeja de frutas. Fondo amplio de paisaje con figuras. En el reverso hay un apunte de composición, muy abocetado, como para una Muerte de Germánico. Un hombre yace en un lecho, rodeado de mujeres que lloran. Por la izquierda entran varias figuras.Es dibujo de excelente calidad, cuya atribución

Landscape
Pencil, Grey-brown wash on brown paper. Ca. 1650
Anonymous
Landscape
Pencil, Grey-brown wash on brown paper. Ca. 1650
Anonymous

Dibujo en el que se representa un paisaje con dos árboles en primer término, un río con barcas y una ciudad al fondo. El tipo de paisaje enlaza con el de la escuela boloñesa y la libertad de las formas, del follaje de los árboles, de las figuras y de la ciudad del fondo, indican una fecha mas tardía dentro del siglo XVII, pero la grafía característica de este apunte no corresponde con la de ningun

Venus and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous
Venus and Cupid
Pencil, Pencil ground, Grey-brown ink on paper. XVI century
Anonymous

Cupid, seated in Venu´s lap, raises his face to kiss her. The two figures correspond precisely in pose to those in a painting by Cambiaso of Venus and Cupid accompanied by a satyr in a landscape in the Palazzo Belimbau, Genoa. However, in the painting, the figures are seated on a piece of drapery rather than on clouds.

The Wrestlers
Serpentine. XVIII century
Anonymous
The Wrestlers
Serpentine. XVIII century
Anonymous

This is a version of the celebrated Hellenistic group which depicts two athletes engaging in a form of wrestling considered an Olympic sport in ancient Greece. Serpentine, known in the past as “green from Prato”, was used for ornamental pieces. Requiring tremendous technical skill to carve, it was not used by sculptors in Italy until the late eighteenth and early nineteenth centuries.

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