Loading...
This work was painted at a very important moment in Rico’s career, a period spent in direct contact with Fortuny in Granada in 1871 and 1872. He move there towards the end of 1870, but he was already [+]
This exquisite floral still life and its companion, Glass Vase with Roses and other Flowers (P7935), stand out for the calculated depiction of their crystal, in which the author displays a skillful tr [+]
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 [+]
The composition of this still-life follows a strict geometric schema, in the manner of Juan van der Hamen. Two baskets and two metal plates flank a dark bottle in the center of the painting, marking t [+]
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 i [+]
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 whic [+]
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 [+]
Goya uses a single work to present two types of hunting —on foot and on horseback— and various types of individuals. In the foreground, one hunter shoots quail while another follows his dog, which sme [+]
This almost family scene shows the Christ Child and Saint John embracing each other while their respective mothers, Mary and Elizabeth, look on. The moment is witnessed by Saint Catherine, who accompa [+]
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 s [+]
Educated as a young man in France and Florence, in 1527 Pier Maria Rossi (1504-1547), Seventh Count of San Secondo, was in the service of Clement VII but that same year entered the employment of Charl [+]
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 Hel [+]
This carefully executed and exquisite floral still life and its companion, Crystal Flower Vase with Roses and jazmins (P7934), stand out for the calculated depiction of their crystal, in which the aut [+]
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 [+]
Espinós structures his composition into three contrasting parts, including a mythological scene with two sculptural Olympian gods in the centre. They are surrounded by a large and colourful gar [+]
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 Pra [+]
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 [+]
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 avo [+]
