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The Sense of Hearing
Oil on panel. 1617 - 1618
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
The Sense of Hearing
Oil on panel. 1617 - 1618
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

This set of paintings on the five senses (Sight, Hearing, Smell, Taste, Touch) 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 i

The Assumption and Coronation of the Virgin
Oil on panel. 1602 - 1603
Reni, Guido
The Assumption and Coronation of the Virgin
Oil on panel. 1602 - 1603
Reni, Guido

En el centro, la Virgen coronada por dos angelitos, rodeada por la corte celestial. Abajo, ángeles músicos en las esquinas. El tema, para el cual se conocen algunos dibujos, fue muy trabajado por Guido en sus primeros años, con una cierta influencia de Aníbal Carracci en las formas torneadas de sus ángeles y en una monumentalidad grandiosa, que no es habitual en sus composiciones. Se conocen tres

Royal Couples
Oil on canvas. 1770
Paret y Alcázar, Luis
Royal Couples
Oil on canvas. 1770
Paret y Alcázar, Luis

This canvas depicts an equestrian event that took place at the Palace of Aranjuez in 1770. It was attended by Charles III and Princess María Luisa, his daughter-in-law, who are to be seen in the second box adjoining the palace façade, and by a crowd of subtly individualised figures. On horseback at the forefront of the pairs of riders are Prince Carlos and the Infantes Gabriel and Lu

The Adoration of the Shepherds
Oil on panel. Ca. 1523
Pitati, Bonifazio Di
The Adoration of the Shepherds
Oil on panel. Ca. 1523
Pitati, Bonifazio Di

An independent painter since 1515, Pitati trained with Palma Vecchio whose late style he assimilated. This panel dates from his early period (1515-28) and reveals his knowledge of the work of Bellini, Giorgione and Titian. The compositional symmetry and three-part division of the landscape are characteristic of his early output.

The Annunciation
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)
The Annunciation
Oil on canvas. 1597 - 1600
el Greco (Domenikos Theotokopoulos)

A passage from the New Testament (Luke I, 26-38) that tells of the annunciation of the Virgin´s motherhood by the Archangel Gabriel and the incarnation of Christ in Mary by the Holy Ghost in the form of a dove. The burning bush, which appeared to A passage from the New Testament (Luke I, 26-38) that tells of the annunciation of the Virgin´s motherhood by the Archangel Gabriel and the incarnation o

Emblem of Death
Oil on panel. 1635 - 1640
Steenwijck, Pieter Van
Emblem of Death
Oil on panel. 1635 - 1640
Steenwijck, Pieter Van

Steenwijck brings to the vanitas a genre in which he specialised, according to the surviving inventories -the compositional structure, scheme, colour range and lighting characteristic of the so-called monochrome banketjes or monochrome still lifes of Willem Claesz. Heda (P2754, P2655 and P2756) and Pieter Claesz. (P2753). Accordingly, the objects are arranged on a simple wooden table that is half

Angels
Oil on panel. 1550
Kempeneer, Pieter
Angels
Oil on panel. 1550
Kempeneer, Pieter

The six musician angels (triangle, harp, flute, castanets, a type of violin and a tambourine) decorated the doors of a tabernacle. Despite the chromatic variety, the choice of a cool palette produces a technical result close to grisaille. This dissonant, almost Mannerist effect combined with the expressionistic physical types and the rather sketchy treatment of the figures is characteristic of Ped

Three Strolling Musicians
Oil on panel. 1645 - 1650
Jordaens, Jacques
Three Strolling Musicians
Oil on panel. 1645 - 1650
Jordaens, Jacques

A bust depiction of three street musicians. The first plays a flute while the other two sing from sheet music held by one of them. The sketchy rendering and vigorous brushstrokes mark this as a preliminary study. However, as no known work of Jordaens uses similar figures, his authorship has long been in doubt. The very loose rendering and large amount of paint in the brushstrokes of the flesh tone

Rustic Concert with Pipe and Violin
Oil on panel. 1635 - 1637
Ostade, Adriaen Van
Rustic Concert with Pipe and Violin
Oil on panel. 1635 - 1637
Ostade, Adriaen Van

This work belongs to the so-called peasant interiors, one of the new genres of painting that emerged and developed in the Netherlandsin the early seventeenth century. In Houbraken and in early inventories they are described as een boertje, (a little peasant) or as toeback rookerchen (tobacco smokers). The consolidation and appreciation of this genre was fostered by the satirical and moralising lit

The Andrians
Oil on canvas. 1523 - 1526
Titian (Tiziano Vecellio)
The Andrians
Oil on canvas. 1523 - 1526
Titian (Tiziano Vecellio)

Having delivered the Bacchus and Ariadne in 1523 Titian then painted The Andrians, also inspired by Philostratus (Imagines I, 25). The scene is set on the island of Andros, a place so favoured by Bacchus that a stream flows with wine. Gods, men and children unite in the celebration of the effects of wine, whose consumption, in Philostratus´ words, makes men rich, dominant, generous to their friend

A Fair in Santiponce
Oil on canvas. 1855
Rodríguez de Guzmán, Manuel
A Fair in Santiponce
Oil on canvas. 1855
Rodríguez de Guzmán, Manuel

En el centro de la composición, un músico sentado tocando una guitarra de tipología francesa y unas figuras danzando refuerzan el carácter festivo de la representación. Detrás del guitarrista hay una figura masculina con las palmas de las manos abiertas hacia el espectador que podría estar cantando algún palo flamenco. La mujer con vestimenta en tonos rosas danza apoyando el pie derecho sobre la p

The young Pan
Marble. 130 - 150
Anonymous
The young Pan
Marble. 130 - 150
Anonymous

The musician god Pan originally had a flute rather than the instrument resembling a recorder he now holds. The ungainly later additions - head, hands, legs and tree trunk - distort the graceful original, inspired by Praxiteles and sculpted around the late 4th century BC. The diagonally held flute would have created the principal axis on which the bent arms met, while the head was originally that o

The Andrians
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Zöllner, Ludwid Theodor; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The Andrians
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Zöllner, Ludwid Theodor; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

Es una litografía de Ludwid Theodor Zöllner (1796?-1860) que reproduce el óleo de Tiziano conservado en el Museo Nacional del Prado (P00418). Esta estampa se entregaba con el cuadernillo CL 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 España el señor don Fernando V

The Andrians
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Zöllner, Ludwid Theodor; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The Andrians
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Zöllner, Ludwid Theodor; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

Es una litografía de Ludwid Theodor Zöllner (1796?-1860) que reproduce el óleo de Tiziano conservado en el Museo Nacional del Prado (P00418). Esta estampa se entregaba con el cuadernillo CL 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 España el señor don Fernando V

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