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Sacrifice to Bacchus
Oil on canvas. Ca. 1634
Stanzione, Massimo
Sacrifice to Bacchus
Oil on canvas. Ca. 1634
Stanzione, Massimo

While it is first listed in 1666 at the Alcázar, where it hung alongside Ribera’s Fable of Bacchus or Teoxenia (of which only three fragments have survived: two at the Museo del Prado and one in a private collection), this work’s subject and dimensions suggest it may originally have been commissioned for the Buen Retiro Palace. Along with Finoglia’s Triumph of Bacchus (P7309), Poussin’s Sac

García de' Medici
Oil on panel. Ca. 1550
Bronzino (Agnolo Di Cosimo)
García de' Medici
Oil on panel. Ca. 1550
Bronzino (Agnolo Di Cosimo)

This portrait of García de’Medici (1547–1562), third son of Cosimo de’Medici and Leonor de Toledo, is an excellent example of the scant interest in the depiction of children prior to the Enlightenment period. Bronzino offers a faithful rendering of a child’s small, undefined features, but presents him with the same distant, impassive pose used for adult portraits of the Florentine court amb

The Triumph of Bacchus
Oil on canvas. 1636 - 1638
Vos, Cornelis de
The Triumph of Bacchus
Oil on canvas. 1636 - 1638
Vos, Cornelis de

El carro triunfal de Baco con todo su cortejo en relación con la hostilidad del rey Penteo aparece en libro III de las Metamorfosis de Ovidio (528 seq.): "(...) Ha llegado Líber; los campos resuenan con gritos de alborozo; corre el gentío; matronas y muchachas mezcladas con hombres, la chusma y los grandes señores acuden al nuevo culto. "¿Qué locura, hijos de la serpiente, prole de Marte, ha aturd

The Triumph of David
Oil on canvas. XVII century
Bocanegra, Pedro Atanasio
The Triumph of David
Oil on canvas. XVII century
Bocanegra, Pedro Atanasio

David appears with Goliath´s head. Four women occupy the right side of the composition, one dancing with a tambourine and the other three accompanying her with singing and, at the right end of the canvas, a baroque guitar. The figure next to the guitarist appears to be looking attentively at the score, which is nonetheless partially covered by the instrumentalist´s arm. The third leans

The Baptism of Christ
Oil on panel. 1575 - 1580
Schwarz, Christoph
The Baptism of Christ
Oil on panel. 1575 - 1580
Schwarz, Christoph

Formerly attributed to Lambert Sustris, this panel is now given to the German painter Schwarz. Both these northern European artists worked in Venice in Titian’s studio (Schwarz between 1570 and 1573), specialising in landscape backgrounds. The work of Schwarz, the younger of the two, reveals the influence of both Tintoretto and Veronese.

David defeats Goliath
Oil on canvas. 1590 - 1595
Young Palma (Jacopo Negretti)
David defeats Goliath
Oil on canvas. 1590 - 1595
Young Palma (Jacopo Negretti)

David is depicted as a child carrying the giant’s head and accompanied by soldiers. On the right, women hail him with musical instruments. The event is referred to in the Bible (1 Kings 18). After the death of Titian (1576), Paolo Veronese (1588), Jacopo Bassano (1592) and Jacopo Tintoretto (1594), this painted Venetian scene was left in the hands of very cautious heirs: Domenico Tintoretto, Carle

The Triumph of David
Oil on canvas. Mid-XVIIcentury
Bellis, Antonio de
The Triumph of David
Oil on canvas. Mid-XVIIcentury
Bellis, Antonio de

Dance of Mythological Figures and Villagers
Oil on panel. 1630 - 1635
Rubens, Peter Paul
Dance of Mythological Figures and Villagers
Oil on panel. 1630 - 1635
Rubens, Peter Paul

A group of figures dance to the tune of a flute played by a man perched on an oak tree, and to the bells that some dancers have attached to their lower legs. The scene evokes the dances that are part of Ancient Greek history and myths and the tradition that followed - the book Hypnerotomachia Poliphili includes a description and a woodcut of a similar dance. The painting also evokes the arcadian s

Margarita Francisca, Daughter of Philip III, Infanta of Spain
Oil on canvas. Ca. 1610
Morán, Santiago
Margarita Francisca, Daughter of Philip III, Infanta of Spain
Oil on canvas. Ca. 1610
Morán, Santiago

The presence of portraits of children in the painting collections of the Spanish Austrians can be found all throughout the sixteenth century. In the 1570s this sub-genre became more highly developed at the hands of Alonso Sánchez Coello, who painted the daughters of Philip III on several occasions, creating images which, while they reflected the girls’ growth, observed all the formal stereo

Elephants in a Circus
Oil on canvas. Ca. 1640
Lione, Andrea Di
Elephants in a Circus
Oil on canvas. Ca. 1640
Lione, Andrea Di

As frequently occurred in the cycle on the History of Ancient Rome commissioned for the decoration of the Buen Retiro Palace, Andrea di Lione drew elements of his painting from the abundant Antiquarian literature that began to be published in the middle of the sixteenth century. Today we can trace this procedure with considerable confidence. The starting point for the present work was Tabula III,

Hercules shooting his bow
Pencil, Pencil ground, Grey-brown ink, Wash on brown paper. 1544 - 1550
Cambiaso, Luca
Hercules shooting his bow
Pencil, Pencil ground, Grey-brown ink, Wash on brown paper. 1544 - 1550
Cambiaso, Luca

Hercules used his bow when firing at the Stymphalian birds, the destruction of which was the sixth of his Labors. These voracious creatures ate human flesh, had brazen claws, wings and beaks and used their feathers as arrows. Their habitat was a lake near Stymphalus in Arcadia. On hearing of the task that Hercules had been allotted, Athena provided the hero with a brass rattle, by the noise of whi

A great hand to steal a rattle (Because he was tremulous)
Brush, Grey-brown ink, Iron gall ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
A great hand to steal a rattle (Because he was tremulous)
Brush, Grey-brown ink, Iron gall ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

The Triumph of Bacchus
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rodríguez, Cayetano; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Triumph of Bacchus
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rodríguez, Cayetano; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Cayetano Rodríguez (activo en Madrid entre 1829 y 1837) que reproduce el óleo de Cornelis de Vos conservado en el Museo Nacional del Prado (P01860). Esta estampa se entregaba con el cuadernillo CLXIX acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de

The Triumph of Bacchus
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rodríguez, Cayetano; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Triumph of Bacchus
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rodríguez, Cayetano; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Cayetano Rodríguez (activo en Madrid entre 1829 y 1837) que reproduce el óleo de Cornelis de Vos conservado en el Museo Nacional del Prado (P01860). Esta estampa se entregaba con el cuadernillo CLXIX acompañado de un texto explicativo de José Musso y Valiente. Iba encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de

Solomon worshipping Idols
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Beltrán, Ramón; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Solomon worshipping Idols
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Beltrán, Ramón; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Ramón Beltrán (activo en Madrid entre 1832 y 1837) que reproduce el óleo de Sebastiano Conca conservado en el Museo Nacional del Prado (P00102). Esta estampa se entregaba con el cuadernillo CLXI acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de Espa

Triumph of Bacchus
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rodríguez, Cayetano; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Triumph of Bacchus
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rodríguez, Cayetano; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Cayetano Rodríguez (activo en Madrid entre 1829 y 1837) que reproduce el óleo de Cornelis de Vos conservado en el Museo Nacional del Prado (P01860). Esta estampa se entregaba con el cuadernillo CLXIX acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de

Solomon worshipping Idols
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Beltrán, Ramón; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Solomon worshipping Idols
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Beltrán, Ramón; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Ramón Beltrán (activo en Madrid entre 1832 y 1837) que reproduce el óleo de Sebastiano Conca conservado en el Museo Nacional del Prado (P00102). Esta estampa se entregaba con el cuadernillo CLXI acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de Espa

Triumph of Bacchus
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rodríguez, Cayetano; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Triumph of Bacchus
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Rodríguez, Cayetano; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Cayetano Rodríguez (activo en Madrid entre 1829 y 1837) que reproduce el óleo de Cornelis de Vos conservado en el Museo Nacional del Prado (P01860). Esta estampa se entregaba con el cuadernillo CLXIX acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de

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