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This painting entered the Museum as an original work by Jan Both, attribution that has been maintained in the catalogues until the present day. In 1973 Valdivieso identifies it as the picture listed in the 1701 inventory of the Palace of the Buen Retiro and retains the ascription to Jan Both, which is supported by Luna (1984) and Capitelli (2005). Burke (1976) refers to it without an attribution.B
This full-length portrait by Pompeo Batoni shows a young English nobleman dressed in a scarlet coat, posing against the Roman countryside. The picture conforms to the Grand Tour portrait model of which Batoni, together with other artists such as Anton Raphael Mengs, became a leading practitioner, attaining success particularly among British patrons. Here the sitter is holding a walking stick and a
Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first version (Paris, Louvre) of around 1526 which is clearly indebted to Raphael´s painting of that subject (Rome, Galleria Borghese), and his other versions painted between 1559 and 1572. The main differe
This painting celebrates the freeing of the Swiss town of Constance from its besiegement by Swedish troops under General Horn, who sought to cut off communication between imperial troops and Spanish soldiers at La Valtellina and the Duchy of Milan. Along with The Storming of Rheinfelden (P637) and The Capture of Breisach (P859), this is one of the three paintings at the Hall of Realms that commemo
This work is a fragment of a painting that showed the visit of the god of wine to mortals, as is Detail of the Head of Bacchus (P-1123) and another painting in Bogotá. The work, based on an Hellenistic relief, may have formed a pair with A Sacrifice to Bacchus by Massimo Stanzione (P-259).
Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first version (Paris, Louvre) of around 1526 which is clearly indebted to Raphael´s painting of that subject (Rome, Galleria Borghese), and his other versions painted between 1559 and 1572. The main differe
This architectural landscape showing the ancient Roman city of Benevento, near Naples, was painted around 1759 by Antonio Joli of Modena. A painter of theatre sets and vedute, Joli worked for theatres in Venice, London and Madrid, and painted numerous scenes for private collectors, which show the influence of Giovanni Paolo Panini, Gaspare Vanvitelli and Giovanni Antonio Canal (Canaletto). In 1756
This work is a cartoon for an over-door tapestry intended for the Prince of Asturias’s chambers at the palace in San Lorenzo del Escorial. Long classified as an anonymous painting in the Museo del Prado’s catalogs, it can now be attributed without doubt to José del Castillo and considered a cartoon for a tapestry from the Royal Tapestry Factory of Santa Bárbara, where the artist work
This painting belongs to the Neapolitan group of scenes of ancient Roman life that were ordered in the early to mid 1630s by the Viceroy of Naples, the Count of Monterrey, to decorate the Buen Retiro Palace on the outskirts of Madrid.The painting underscores Lanfranco’s extraordinary powers of inventiveness and productivity during a period in which he was otherwise thoroughly preoccupied with a su
These works (P944 and P7948) embody a more decorous variation of the breastfeeding Madonna, a reference to the succour afforded by the Virgin to all believers. Morales designed a composition which avoids both the representation of Mary’s nude breast and explicit lactation. With both hands, Mary holds a Child who seeks maternal consolation, lifting the veil with one hand and touching the modestly c
These works (P7948 and P944) embody a more decorous variation of the breastfeeding Madonna, a reference to the succour afforded by the Virgin to all believers. Morales designed a composition which avoids both the representation of Mary’s nude breast and explicit lactation. With both hands, Mary holds a Child who seeks maternal consolation, lifting the veil with one hand and touching the modestly c
Here, the doge of the Republic of Genoa emerges through the gates of the city in order to receive Don Álvaro de Bazán, the Marquis of Santa Cruz, who has arrived as the commander of a fleet intended to protect the city from assault by the French troops led by the Constable Lesdiguières and Charles Emmanuel I, the Duke of Savoy. In the distance, the city´s populace jubilantly g
This work entered the Museo del Prado in 1916 titled Penitent Magdalene, along with almost ninety other Italian, French, Flemish and Spanish works from the fifteenth to eighteenth centuries, nearly all with religious subjects. They were part of the bequest of Pablo Bosch y Barrau, a financier who loved and studied art. In 1924 Hermann Voss attributed this painting to Antonio Zanchi (1631-1722), a
This fragment, together with Figure of a Woman (P-1122) and a third work in Bogotá, are the only remaining parts of a painting of the Triumph of Bacchus that is based on an Hellenistic relief, and shows the visit of this god of wine to earth and that was probably painted to form a pair with A Sacrifice to Bacchus by Massimo Stanzione, which is also in the Prado (P-259).
A compendium of common motifs in Meléndez´s oeuvre is found in this painting, affording it a sense of proximity and trueness to life of great artistic and documentary value. Set out among plums and figs on the characteristic wooden tabletop with visible grains and knots are a loaf of bread and a typical Talavera or Puente del Arzobispo wedding jug in white with an ochre-yellow antimon
Bernardo Monanni, Secretary of the Florentine Embassy in Madrid, called this painting The Relief of the Three Cities on the Rhine by the Duke of Feria. He was undoubtedly influenced by the inscription on the lower right corner, which mentions not only Rheinfelden, but also three other neighboring cities: Waldzut, Sechim (Säckingen) and Laufenburg. The duke appears in the foreground, standing
This painting was listed in the Museum catalogues as an anonymous work from the Dutch school until 1920, although from 1885 onwards it was noted that Bredius ascribes it to Aert Anthonisz. van Antum (ca. 1579/80-1620). The attribution was adopted from the 1936 catalogue onwards. However, Vroom`s signature is perceptible beneath the repainted flag bearing the Burgundy cross which covers the origina
Universally considered the most emblematic painting of Spanish 19th-century realist landscape, this spectacular panorama of Picos de Europa is also Carlos de Haes absolute masterpiece. He painted it at the height of his career, with the confidence and ease of his most refined style. It is thus the maximum example of the powerful transformation that this great master of Belgian origin effected in l
