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Judith at the Banquet of Holofernes
Oil on canvas. 1634
Rembrandt (Rembrandt Harmensz. Van Rijn)
Judith at the Banquet of Holofernes
Oil on canvas. 1634
Rembrandt (Rembrandt Harmensz. Van Rijn)

In the past various authors have expressed their scepticism about the attribution of the painting to Rembrandt. However, the Rembrandt Research Project includes it in the Corpus of 1986 as an original work, and this is supported by the technical study conducted at the Museo del Prado that year. As for the signature, the unsteadiness of the stroke and, above all, the yellow colour make it dubious.

Margaret before the Mirror
Oil on canvas. 1866
Domínguez Sánchez, Manuel
Margaret before the Mirror
Oil on canvas. 1866
Domínguez Sánchez, Manuel

This painting illustrates a scene from Goethe´s Faust. Specifically, the moment when Margaret finds a jewelry box in her bedroom closet. Mephistopheles gave it to Faust as a tempting gift for his beloved. The young woman enjoys hanging a string of pearls around her neck and observing the beautiful results in the mirror. A spinning wheel is visible in the dark background. This work shows the influe

Queen Elisabeth of Valois, third wife of Philip II
Oil on canvas. Ca. 1605
Pantoja de la Cruz, Juan
Queen Elisabeth of Valois, third wife of Philip II
Oil on canvas. Ca. 1605
Pantoja de la Cruz, Juan

In this three-quarter portrait Queen Isabel de Valois (1546-1568) wears a black velvet gown with round sleeves from which her slashed red silk undersleeves embroidered with gold and silver thread peep out. On her head is a tilted flat cap which, like the buttons adorning the gown, is decorated with diamonds and rubies. The French queen would have dressed in this manner for solemn events, embellish

Saints Gregory the Great and Jerome
Oil on panel. 1495 - 1500
Berruguete, Pedro
Saints Gregory the Great and Jerome
Oil on panel. 1495 - 1500
Berruguete, Pedro

This panel and its companion, Saint Ambrose and Saint Augustine (P8124), must have been part of the predella of a mid-sized altarpiece. Like most of the works attributed to Pedro Berruguete, they are not documented, but there is no doubt about his hand, which is patent in both the human types depicted in them and, fundamentally, their style. One characteristic of Berruguete’s approach is his inter

The Finding of Moses
Oil on canvas. 1633
Gentileschi, Orazio
The Finding of Moses
Oil on canvas. 1633
Gentileschi, Orazio

Painted in London when the artist was nearly seventy years old, Moses Rescued from the Nile is undoubtedly the finest work from Orazio Gentileschi’s final period. Exquisitely refined and subtle in its emotions, it was conceived to please that most informed and demanding connoisseur of painting, King Philip IV of Spain. The artist sent it to him as a gift in the summer of 1633, and his son Francesc

Triptych of the Adoration of the Magi
Grisaille, Oil on oak panel. Ca. 1494
Bosch, Hieronymus
Triptych of the Adoration of the Magi
Grisaille, Oil on oak panel. Ca. 1494
Bosch, Hieronymus

The theme of this triptych is the advent of salvation -a message about the universality of Redemption. The Eucharistic meaning inherent in the theme of Saint Gregory’s Mass is also found in The Adoration of the Magi in the wheat stored in the upper part of the hut, above the figure of the Antichrist. Unusually, Bosch includes in his depiction of the Mass of Saint Gregory in semi-grisaille seven Pa

Isabel de Valois holding a Portrait of Philip II
Oil on canvas. 1561 - 1565
Anguissola, Sofonisba
Isabel de Valois holding a Portrait of Philip II
Oil on canvas. 1561 - 1565
Anguissola, Sofonisba

This portrait is a full-length likeness of Philip II’s third wife, Queen Isabel de Valois. She wears a black gown with pointed sleeves and a long train that is curled around her body and billows at the back. Poking out from beneath her hanging sleeves, held in place with ruby and diamond buttons and lined in white fabric, are silver and gold undersleeves. The one-piece gown is decorated with appli

Archduchess Maria Theresa of Austria
Oil on canvas. 1771
Mengs, Anton Raphael
Archduchess Maria Theresa of Austria
Oil on canvas. 1771
Mengs, Anton Raphael

In portraits of female subjects, Anton Rafael Mengs displays a warm and gentle quality, more Rococo in tone than the slightly academic coldness marking his historical and mythological compositions. The eldest daughter of the Grand Dukes of Tuscany and a granddaughter of Charles III, the Archduchess María Teresa Habsburg-Lorena is shown here at full length, next to a caged parrot. Her dress,

The Virgin and Child, known as the Durán Madonna
Oil on panel. 1435 - 1438
Weyden, Rogier Van Der
The Virgin and Child, known as the Durán Madonna
Oil on panel. 1435 - 1438
Weyden, Rogier Van Der

The panel has been trimmed on all four sides but little of the painted surface can have been lost. It is made from two boards of Baltic oak, both from the same tree; the last ring was formed in 1372. Black overpaint conceals areas of damage on our left of the Virgin`s face and on our left of the Child`s head and torso. On our right of the Virgin, a similar area of black overpaint may hide a shadow

Masquerade
Oil on panel. 1767
Paret y Alcázar, Luis
Masquerade
Oil on panel. 1767
Paret y Alcázar, Luis

This painting, prepared by Paret in an excellent drawing (British Museum in London, inv. 1890,1209.50) and titled Baile in máscara (The Masked Ball), on a cartouche as a kind of label, is one of the earliest known works by the artist. It demonstrates great technical and compositional skill in arranging a subtly illuminated interior filled with a multitude of figures. The varied dress, poses

Mary Tudor, Queen of England, Second Wife of Philip II
Oil on panel. 1554
Mor, Anthonis
Mary Tudor, Queen of England, Second Wife of Philip II
Oil on panel. 1554
Mor, Anthonis

In 1604 in his biography of Mor, Karel van Mander referred to the artist’s trip to London in 1554, where he was sent on the orders of Charles V to paint Mary Tudor (1516–1558), and to the success of the resulting work.1 The queen is depicted seated, almost full-length, following Raphael’s portrait of Julius II of 1512 (London, National Gallery), and that of Juana of Aragon of 1518 (Paris, Mus&eacu

The Infanta Catalina Micaela
Oil on canvas. Ca. 1584
Sánchez Coello, Alonso
The Infanta Catalina Micaela
Oil on canvas. Ca. 1584
Sánchez Coello, Alonso

Portrayed in more than half-length, Catalina Micaela (1567-1597) wears an entirely black dress with lace collar and cuffs, inner sleeves of golden white and white ribbons. A double string of pearls, a necklace, worked golden buttons and a belt are her rich jewelry. As in other court portraits, she rests her hand on an armchair in allusion to her high birth, while the other holds a feminine object,

María Dolores Aldama, Marchioness of Montelo
Oil on canvas. 1855
Madrazo y Kuntz, Federico de
María Dolores Aldama, Marchioness of Montelo
Oil on canvas. 1855
Madrazo y Kuntz, Federico de

This young aristocrat, portrayed in three-quarter length, stands posed before the viewer wearing a magnificent black satin and velvet dress trimmed with lace and ribbons, a close-fitting bodice and a full, domed skirt. Her hair is smoothed and parted, with braids wound around her ears and gathered in the back, held in place with a large, bejewelled pin and lace frill. She wears, at her neckline, a

Isabella Farnese
Oil on canvas. 1718 - 1722
Meléndez, Miguel Jacinto
Isabella Farnese
Oil on canvas. 1718 - 1722
Meléndez, Miguel Jacinto

The brightly lit figure of Isabella Farnese stands out strongly against a dark background. Her face conforms to the highly idealised and slightly inexpressive prototype that Meléndez used in his numerous portraits of the Queen, but here he has paid particular attention to the depiction of the jewels. In the Queen´s hair a brooch with a large pearl secures the salmon pink ribbon that unfurls

The Raising of Lazarus
Oil on pine panel. 1514 - 1519
Flandes, Juan de
The Raising of Lazarus
Oil on pine panel. 1514 - 1519
Flandes, Juan de

In keeping with the style of his final years in Palencia, this Flemish painter increases the size of the three main figures- Christ blesses Lazurus, who rises from the tomb. His hand rests on the top of the coffin and his eyes have transformed into black pearls. One of his sisters —Martha, according to the Gospel of Saint John (11, 38-44)— kneels and extends her arms to him. The event takes place

Alida de Lange, Wife of Johan Rammelman
Oil on canvas. Ca. 1679
Netscher, Caspar
Alida de Lange, Wife of Johan Rammelman
Oil on canvas. Ca. 1679
Netscher, Caspar

These two paintings were first shown in Amsterdam in 1858. On that occasion the sitters were identified as Lambert Witsen and his wife Sara Nuyts owing to the woman`s purported similarity to the portrait of the latter (Amsterdam Historisch Museum, inv. SA 989) dated 1684 and included thus by Jan de Baen (1633-1702) in his work, Portrait of the Regents of the Spinhuis in Amsterdam.Moes (1897-1905)

Infanta Isabel Clara Eugenia
Oil on canvas. 1577
Sánchez Coello, Alonso
Infanta Isabel Clara Eugenia
Oil on canvas. 1577
Sánchez Coello, Alonso

The Infanta, Felipe II´s daughter, is portrayed with a distant and elegant gesture, in three-quarters, which was in keeping with a type of portraiture widely used among court painters at that time. She wears a white and gold dress with lace collar and cuffs, a feather headdress and a great profusion of jewelry, precious stones and pearls. She holds a handkerchief in her left hand, as was customary

Bottle with two mouths and rings
Gold, Rock crystal / hyaline quartz, Enamel. 1570 - 1600
Taller de las Águilas
Bottle with two mouths and rings
Gold, Rock crystal / hyaline quartz, Enamel. 1570 - 1600
Taller de las Águilas

Vessel made up of various assembled pieces of rock crystal and six gold mounts with black enamel. The high body with four large gadroons narrows at the top to form a narrow cruciform neck with a wider moulding and mouth. It has two S-shaped arms ending in volutes and scallop shells. The decoration, similar to that on the vase, O93, and the galley, O114, of the Dauphin’s Treasure, has gadroons risi

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