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The Immaculate Conception of El Escorial
Oil on canvas. 1660 - 1665
Murillo, Bartolomé Esteban
The Immaculate Conception of El Escorial
Oil on canvas. 1660 - 1665
Murillo, Bartolomé Esteban

In this personification of the Virgin Mary as the Immaculate Conception, the protagonist, although still very youthful, is not as childlike as those of Zurbarán and Velázquez and lacks the descriptive and symbolic elements commonly found in earlier, undoubtedly archaic versions. Allusions to the litanies are omitted and artist reduces the image to the bare essentials: the young and s

Saint Stephen / The Imposition of the Chasuble on Saint Ildephonsus
Oil on panel. 1559
Correa de Vivar, Juan
Saint Stephen / The Imposition of the Chasuble on Saint Ildephonsus
Oil on panel. 1559
Correa de Vivar, Juan

The Museo del Prado’s collections include an important group of paintings by Juan de Correa de Vivar, an artist based in Toledo who must have been born at the beginning of the 16th century in the town of Mascaraque and died in the Imperial City in 1566. In total, these are nearly forty works from the former Museo Nacional de la Trinidad. Like many other 16th-century Spanish religious painters, Cor

The Mystic Marriage of Saint Catherine
Oil on canvas. 1660
Cerezo, Mateo
The Mystic Marriage of Saint Catherine
Oil on canvas. 1660
Cerezo, Mateo

The wheel by the figure’s feet, her palm of martyrdom and crown identify her as Saint Catherine who received the wedding ring from the Infant Christ in reward for her virtue. The basket in the foreground demonstrates Cerezo’s outstanding abilities as a still-life painter.

Saint Vincent, Deacon and Martyr, with a Donor
Mixed method on panel. 1462 - 1466
Giner, Tomás
Saint Vincent, Deacon and Martyr, with a Donor
Mixed method on panel. 1462 - 1466
Giner, Tomás

This is the central panel of the altar piece in the archdeacon’s chapel in the cathedral of Zaragoza, built by Bernardo Villalba, archdeacon of this city, and Jaime Hospital, canon and archdeacon of Belchite. Giner represents Saint Vincent dressed as a deacon with two angels playing instruments and the donor kneeling on the left. He is on his feet, stepping on a moor; he has a book and a palm in o

Saint Catherine
Oil on panel. Ca. 1510
Yáñez de la Almedina, Fernando
Saint Catherine
Oil on panel. Ca. 1510
Yáñez de la Almedina, Fernando

This is one of the Spanish Renaissance’s most emblematic depictions of a female figure and the best known of Yáñez de la Almedina’s works. Both considerations are due to the visibility this work has received at the Museo del Prado, where it has been one of the essential icons in its galleries of 16th-century Spanish painting ever since it arrived in 1946. According to Jacopo de la Vo

Saint Peter Martyr
Oil on panel. 1491 - 1499
Berruguete, Pedro
Saint Peter Martyr
Oil on panel. 1491 - 1499
Berruguete, Pedro

The painting is the central panel of the altarpiece of Saint Peter Martyr from the Convent of Santo Tomás in Avila, together with four other panels in the Museum (P611, 614). The three altarpieces installed in the chancel of Santo Tomás in Ávila had a similar composition: a central panel with the image of the titular saint flanked by four lateral panels, two on either side, de

Retable of Saints John the Baptist and Catherine
Oil, Tempera on panel. 1410 - 1412
Sevilla, Juan de (Author Of The Original Work); Juan Soreda
Retable of Saints John the Baptist and Catherine
Oil, Tempera on panel. 1410 - 1412
Sevilla, Juan de (Author Of The Original Work); Juan Soreda

This is the central panel of an altarpiece from Siguenza Cathedral, part of which is preserved in the sacristy. It was made up of ten panels distributed into five vertical sections and a predella. The Prado owns five of them. Two key moments marked the history of the altarpiece of Saint John the Baptist and Saint Catherine, originally sited in a chapel at the east end of Sigüenza Cathedral. T

Philip II on Horseback
Oil on canvas. 1629 - 1640
Rubens, Peter Paul
Philip II on Horseback
Oil on canvas. 1629 - 1640
Rubens, Peter Paul

A posthumous portrait of Felipe II wearing full body armor, a cape and a hat and riding a horse. Victory crowns him with laurels. The background alludes to a battle, probably that of San Quentín in 1557.Inspired by the knightly ideas of the sixteenth century, this portrait is based on representations of Roman emperors that circulated on Flemish and Italian prints, as well as an image of Car

The Glory of Saints
Oil on canvas. 1755 - 1756
Giaquinto, Corrado
The Glory of Saints
Oil on canvas. 1755 - 1756
Giaquinto, Corrado

Standing on clouds at the center of the composition, Moses points toward the sunbeams shining down from the sky. Beneath him, Abraham and Isaac are accompanied by the sacrificial lamb. To the left of the composition, Saint Laurence and Saint Steven await the palm frond of martyrdom carried by angels; and to the right, we see the strong women of the Bible and King David.This composition belongs to

The Immaculate Conception
Oil on canvas. 1682
Valdés Leal, Juan de
The Immaculate Conception
Oil on canvas. 1682
Valdés Leal, Juan de

The Virgin Mary stands on the Moon, surrounded by clouds in an image that varies from the predominant approach to representations of the Immaculate Conception in Seville. Most such works emphasize dynamism, seeking immediately legible formulas and triumphal contents, but here, Valdés Leal proposes a more meditative approach through a more complex presentation. Mary’s ascent to heaven is not

The Glory
Oil on canvas. 1551 - 1554
Titian (Tiziano Vecellio)
The Glory
Oil on canvas. 1551 - 1554
Titian (Tiziano Vecellio)

Charles V commissioned The Glory from Titian during their meeting in Augsburg in 1550-51. The painting was completed in October 1554 and was sent to Brussels. The unusual composition, which must correspond to precise instructions on the part of the emperor, as Gronau noted, is presided over by the Trinity, with the Virgin and behind her Saint John the Baptist -theologically the two principal inter

Saint Lawrence / Saint Hilary
Oil on panel. 1559
Correa de Vivar, Juan
Saint Lawrence / Saint Hilary
Oil on panel. 1559
Correa de Vivar, Juan

The Museo del Prado’s collections include an important group of paintings by Juan de Correa de Vivar, an artist based in Toledo who must have been born at the beginning of the 16th century in the town of Mascaraque and died in the Imperial City in 1566. In total, these are nearly forty works from the former Museo Nacional de la Trinidad. Like many other 16th-century Spanish religious painters, Cor

The Triumph of Saint Hermenegild
Oil on canvas. 1654
Herrera The Younger, Francisco de
The Triumph of Saint Hermenegild
Oil on canvas. 1654
Herrera The Younger, Francisco de

The Triumph of Saint Hermenegild (d. 585) and of the Catholic Church over Arianism. The saint rises up to heaven surrounded by angels carrying the symbols of his origin and martyrdom: the crown and scepter of a Visigothic king, on the left; and the chains and ax of his martyrdom, on the right. On the lower part of the painting are King Leovigildo, dressed in armor, and an Arian Bishop with the cha

The Martyrdom of Saint Agnes
Oil on panel. 1540 - 1545
Macip, Vicente
The Martyrdom of Saint Agnes
Oil on panel. 1540 - 1545
Macip, Vicente

Masip depicts this fourth-century Roman saint´s second martyrdom, when, after having been condemned to be burned at the stake, the flames miraculously failed to touch her body and she was finally condemned to die by beheading. The logs, still burning and smoking, appear at the martyr´s feet. The lamb she holds in her arms symbolizes her virginity at the moment of her death, which was r

The Martyrdom of Four Monks at the Roermond Charterhouse
Oil on canvas. 1632
Carducho, Vicente
The Martyrdom of Four Monks at the Roermond Charterhouse
Oil on canvas. 1632
Carducho, Vicente

On August 29, 1626, King Philip IV’s painter, Vicente Carducho (ca. 1576-1638), signed a contract for the creation of a cycle of paintings to celebrate the founding of the Carthusian Order by Saint Bruno and its leading members. This colossal undertaking sought to visually narrate numerous episodes from the Carthusians’ history and tradition. It was the most complete commission ever dedicated to t

Philip V on Horseback
Oil on canvas. Ca. 1723
Ranc, Jean
Philip V on Horseback
Oil on canvas. Ca. 1723
Ranc, Jean

Wearing half-armour and accompanied by an adjutant, the King is presented against a scene of battle with cavalry troops behind him in the panoramic background. Above the monarch, a winged Victory figure points out the pathway to triumph, while at the upper left corner we see Sagittarius, the King’s astrological sign. Grandson of Louis XIV, Philip V was born in Versailles on 19 December 1683 and pr

The Aranjuez Immaculate Conception
Oil on canvas. Ca. 1675
Murillo, Bartolomé Esteban
The Aranjuez Immaculate Conception
Oil on canvas. Ca. 1675
Murillo, Bartolomé Esteban

The Museo del Prado has five Immaculate Conceptions by Murillo, who depicted this subject in response to its remarkable popularity in Spain. This devotion became a sign of national identity. This version, formerly in Aranjuez, is among Murillo’s most mature and elegant and in which he most effectively conveys the sense of the figure rising upwards.Over the course of a century and a half, a particu

The Immaculate Conception
Oil on canvas. 1628 - 1629
Rubens, Peter Paul
The Immaculate Conception
Oil on canvas. 1628 - 1629
Rubens, Peter Paul

Wearing a red tunic, blue robes and a crown of stars, the Virgin treads on a serpent carrying the apple of Sin, in keeping with the customary iconography for this Catholic image. By placing Mary over a globe, Rubens made one of his most striking images of the Immaculate Conception. The two angels carrying a palm and a laurel-leaf crown are a classic reference to Mary´s triumph. References to Class

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