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Self-portrait
Oil on canvas. Early XVIII century
Anonymous
Self-portrait
Oil on canvas. Early XVIII century
Anonymous

Xavier de salas, en nota manuscrita conservada en el servicio de documentación del Museo del Prado, afirmaba: El retratado en el Prado sea quien fuese es indudablementeel que aparece en el ángulo inferior derecho del lienzo de la National Gallery atribuido aVelázquez y supuesto una fiesta de familia, que por las semejanzas con el retrato de Jordán del Prado supuso Beruete era obra suya. Las caract

The Surgeon, or The Extraction of the Stone of Madness
Oil on panel. 1550 - 1555
Hemessen, Jan Sanders Van
The Surgeon, or The Extraction of the Stone of Madness
Oil on panel. 1550 - 1555
Hemessen, Jan Sanders Van

A surgeon extracts a stone from a patient´s head. The scene takes place in an urban setting, probably a market. An aged helper holds the patient´s head, along with a youth, who prepares the unguents. Meanwhile, another patient grimaces grotesquely while waiting his turn. Hemessen criticizes the defrauding of patients by depicting the doctor with a sarcastic expression that reveals him as an impost

The Foundation of Santa Maria Maggiore in Rome. The Patrician recounts his Dream to the Pope
Oil on canvas. 1664 - 1665
Murillo, Bartolomé Esteban
The Foundation of Santa Maria Maggiore in Rome. The Patrician recounts his Dream to the Pope
Oil on canvas. 1664 - 1665
Murillo, Bartolomé Esteban

This painting and its companion, The Patrician’s Dream (P994), are among Murillo’s most renowned works. The two arched works were intended to hang beneath a small dome in the recently remodeled Sevillian church of Santa María la Blanca in 1665, and they narrate the story of the founding of the Roman basilica of Santa Maria Maggiore as succinctly set out in the Roman Breviary’s information a

The Calling of Saint Matthew
Oil on canvas. 1661
Pareja, Juan de
The Calling of Saint Matthew
Oil on canvas. 1661
Pareja, Juan de

Christ appears in the tax collector’s office and calls on Matthew to follow him. Matthew, depicted raising his right hand to his breast and with a star above his head, would become one of Christ’s most faithful followers and the author of one of the Gospels. Pareja, Velázquez’s former slave, places considerable emphasis on the setting of this work and also includes himself in the compositio

Saint Bruno’s Conversion before the Body of Diocrès
Oil on canvas. 1626 - 1632
Carducho, Vicente
Saint Bruno’s Conversion before the Body of Diocrès
Oil on canvas. 1626 - 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

The Sense of Sight
Oil on panel. 1617
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
The Sense of Sight
Oil on panel. 1617
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

This set of paintings on the five senses was one of the most successful collaborations of Peter Paul Rubens and Jan Brueghel “the Elder”. Rubens placed his figures in the magnificent courtly scenes created by Brueghel as settings for these allegories of the senses, resulting in a series of enormous quality and esthetic appeal. The subject was widely employed in Flemish painting. Sight was consider

The Pentecost
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
The Pentecost
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista

On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight months to make the paintings, which had to portray the scenes and episodes specified by the prior of the monastery. Despite the agreement reached in the contract, the paintings were not completed until De

Portrait of a Gentleman
Oil on canvas. Ca. 1870
Ferrant, Alejandro
Portrait of a Gentleman
Oil on canvas. Ca. 1870
Ferrant, Alejandro

Holding his spectacles in his right hand, the subject of this portrait gazes at the viewer. He has momentarily left the composition he is working on, which is dated 1844 and is partially legible. It is precisely this element that enabled the subject to be identified as Urbano Aspa (C. Díaz Pascual 2015), a composer of religious music who was also a close friend of the painter’s family. In t

Monkeys at School
Oil on copperplate. Ca. 1660
Teniers The Younger, David
Monkeys at School
Oil on copperplate. Ca. 1660
Teniers The Younger, David

This work is part of the series of six panels of monkey scenes in the Museo Nacional del Prado (from P01805 to P01810). The subject matter is drawn from the oeuvre of Pieter Brueghel the Elder and Peter van der Borcht, which has been associated with the foolishness of man since the Middle Ages. Teniers successfully captures the ambivalence of mankind in its animal nature.The teacher is punishing o

Self-portrait
Oil on canvas. 1899
Díaz Molina, José
Self-portrait
Oil on canvas. 1899
Díaz Molina, José

El artista se ha retratado a los 38 años de edad, de busto corto sobre un fondo neutro, en actitud ensimismada, concentrándose toda la expresión en sus melancólicos y cansados ojos claros, que se dejan ver a través de unos quevedos. Viste chaqueta gris y corbata ancha estampada en tonos azules.Como otros muchos artistas de la época de la Restauración, Díaz Molina se dedicó fundamentalmente al retr

The Calling of Saint Matthew
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Taylor, Isidore-Justine-Séverin -Lithographer- (Attributed To); Pareja, Juan de (Author Of The Original Work); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The Calling of Saint Matthew
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Taylor, Isidore-Justine-Séverin -Lithographer- (Attributed To); Pareja, Juan de (Author Of The Original Work); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

Aunque la estampa está firmada por F. Taylor, esta litografía que reproduce el óleo de Juan de Pareja conservado en el Museo Nacional del Prado (P01041), se atribuye a Isidore-Justine-Séverin Taylor (1789-1879) (Vega, J.: Museo del Prado. Catálogo de estampas, Museo del Prado, 1992, p. 270, n. 1380).Esta estampa se entregaba con el cuadernillo CLXIV acompañado de un texto explicativo de José Musso

The Calling of Saint Matthew
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Taylor, Isidore-Justine-Séverin -Lithographer- (Attributed To); Pareja, Juan de (Author Of The Original Work); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The Calling of Saint Matthew
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Taylor, Isidore-Justine-Séverin -Lithographer- (Attributed To); Pareja, Juan de (Author Of The Original Work); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

Aunque la estampa está firmada por F. Taylor, esta litografía que reproduce el óleo de Juan de Pareja conservado en el Museo Nacional del Prado (P01041), se atribuye a Isidore-Justine-Séverin Taylor (1789-1879) (Vega, J.: Museo del Prado. Catálogo de estampas, Museo del Prado, 1992, p. 270, n. 1380). Esta estampa se entregaba con el cuadernillo CLXIV acompañado de un texto explicativo de José Muss

The Calling of Saint Matthew
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Taylor, Isidore-Justine-Séverin -Lithographer- (Attributed To); Pareja, Juan de (Author Of The Original Work); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Calling of Saint Matthew
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Taylor, Isidore-Justine-Séverin -Lithographer- (Attributed To); Pareja, Juan de (Author Of The Original Work); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Aunque la estampa está firmada por F. Taylor, esta litografía que reproduce el óleo de Juan de Pareja conservado en el Museo Nacional del Prado (P01041), se atribuye a Isidore-Justine-Séverin Taylor (1789-1879) (Vega, J.: Museo del Prado. Catálogo de estampas, Museo del Prado, 1992, p. 270, n. 1380).Esta estampa se entregaba con el cuadernillo CLXIV acompañado de un texto explicativo de José Musso

The Calling of Saint Matthew
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Taylor, Isidore-Justine-Séverin -Lithographer- (Attributed To); Pareja, Juan de (Author Of The Original Work); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Calling of Saint Matthew
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Taylor, Isidore-Justine-Séverin -Lithographer- (Attributed To); Pareja, Juan de (Author Of The Original Work); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Aunque la estampa está firmada por F. Taylor, esta litografía que reproduce el óleo de Juan de Pareja conservado en el Museo Nacional del Prado (P01041), se atribuye a Isidore-Justine-Séverin Taylor (1789-1879) (Vega, J.: Museo del Prado. Catálogo de estampas, Museo del Prado, 1992, p. 270, n. 1380).Esta estampa se entregaba con el cuadernillo CLXIV acompañado de un texto explicativo de José Musso

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