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Alonso Martínez de Espinar (¿?)
Oil on canvas. XVII century
Anonymous
Alonso Martínez de Espinar (¿?)
Oil on canvas. XVII century
Anonymous

Se identifica al personaje como Alonso Martínez de Espinar (h.1594-1682), ayuda de cámara del príncipe Baltasar Carlos y del propio monarca, entre cuyos cometidos estaba el de acompañar a Felipe IV durante las cacerías y entregarle el arcabuz. en este mismo ministerio le ayudaba también Juan Céspedes.Hombre muy experto en caza escribió y publicó una obra titulada Arte de la ballestería y montería

Portrait of a Man
Oil on panel. Ca. 1620
Anonymous
Portrait of a Man
Oil on panel. Ca. 1620
Anonymous

The 1910 catalogue states that Bredius attributed this painting to Jacop Gerritsz. Cuyp (1594-1652), ascription that was officially accepted by the Museum in 1985. However, neither the typology nor the style correspond to Cuyp`s portraits. Moreover, the oval-shaped panel is characteristic of Amsterdam portraitists. Fred Meijer thus believes that this could be the work of a painter who belonged to

The Viol Player
Oil on panel. Ca. 1540
Anonymous
The Viol Player
Oil on panel. Ca. 1540
Anonymous

In this half-length portrait, the young man wears a red cap and holds a musical instrument that combine features of both the vihuela and the violin. While only partially visible, its fretted neck suggests it belongs to the family of the bowed vihuela or viola da gamba, but its bow and part of the pegbox are closer in appearance to those of the violin family, suggesting it is a hybrid of both. Thes

Portrait of an Unidentified Lady
Oil on canvas. Ca. 1550
Anonymous
Portrait of an Unidentified Lady
Oil on canvas. Ca. 1550
Anonymous

Female Portrait
Oil on copperplate. First half of the XIX century
Anonymous
Female Portrait
Oil on copperplate. First half of the XIX century
Anonymous

Retrato de señora con vestido azul, echarpe blanco y abanico en la mano. Este retrato es un buen ejemplo de las últimas manifestaciones del pequeño retrato español, que se mantuvo hasta finales del segundo tercio del siglo XIX, cuando en el resto de Europa fueron ya muy pocos los pintados durante el siglo XVIII.

Young Violinist
Oil on canvas. XVII century
Anonymous
Young Violinist
Oil on canvas. XVII century
Anonymous

This painting was first included in the 1873 edition of the Museo del Prado catalogue, which states that it was rescued from the fire at the Alcázar Palace in Madrid in 1734. However, it is not listed in the inventory of the salvaged works. Hymans assumes it to be an original by Carel Fabritius (1614-1654) or even by Rembrandt (1606-1669). It is the work of a Caravaggist of Utrecht, possibl

Female Portrait
Oil on copperplate. Ca. 1650
Anonymous
Female Portrait
Oil on copperplate. Ca. 1650
Anonymous

La elegancia heredada de Anton van Dyck en el retrato holandés hacia 1640 se refleja en esta efigie femenina. Se aprecia un toque más fluido de pincel, si se compara con las obras de Mierevelt, y un colorido más brillante que sólo podemos apreciar en el pequeño fragmento de vestimenta.

Female Portrait
Oil on copperplate. Ca. 1640
Anonymous
Female Portrait
Oil on copperplate. Ca. 1640
Anonymous

Se unen en esta obra las dos corrientes del retrato flamenco del segundo tercio del siglo XVII: elegancia, opulencia y refinamiento tomados de la escuela veneciana, y la veracidad del norte de Europa.

Female Portrait
Oil on copperplate. Ca. 1680
Anonymous
Female Portrait
Oil on copperplate. Ca. 1680
Anonymous

Retrato pintado según la tradición velazqueña, pero en el que se aprecia el paso hacia la ostentación del Barroco, en la línea del retrato cortesano de Anton van Dyck (1599-1641), visible en las obras de escuela madrileña del último tercio del siglo XVII. Así, a diferencia de los pequeños retratos de periodos anteriores, en este, el personaje no se recorta sobre el habitual fondo neutro, pues un c

The Burial of the Count of Orgaz
Oil on canvas. Ca. 1625
Anonymous
The Burial of the Count of Orgaz
Oil on canvas. Ca. 1625
Anonymous

This painting is a copy of the lower part of El Greco’s celebrated original on display in the church of Santo Tomé, Toledo. A work of considerable quality, it reveals an interesting variety of pictorial devices: heavily charged brushstrokes in the areas of the chasubles and ruffs, with the pigment dragged and scumbled in other zones such as the Franciscan’s habit. It was formerly in the Jes

Portrait of a Knight of the Order of Calatrava
Oil on canvas. 1570 - 1590
Anonymous
Portrait of a Knight of the Order of Calatrava
Oil on canvas. 1570 - 1590
Anonymous

Painted by an anonymous artist, this canvas depicts the upper body of a knight against a neutral background. He insistently stares at the viewer. It may have been at the sitter’s request that the light shines brightly on everything that the painter wished to emphasise: his face, his hands and the accessories that adorn the black satin doublet he wears. The robe, tight-fitting around the torso and

Portrait of don Rodrigo Vázquez de Arce
Oil on canvas. Ca. 1590
Anonymous
Portrait of don Rodrigo Vázquez de Arce
Oil on canvas. Ca. 1590
Anonymous

Considered a copy of a portrait by El Greco, the more detailed technique deployed here lacks the loose boldness of his brushstroke but the composition and some of the elements within it remain close to his approach. El Greco would have known the sitter (1529-1600), a celebrated jurist and a member of the Councils of Castile and of Finance.

Luis de Góngora
Oil on canvas. After 1622
Anonymous
Luis de Góngora
Oil on canvas. After 1622
Anonymous

By 1599, Francisco Pacheco had already begun work on his Libro de descripción de verdaderos retratos de ilustres y memorables varones (Book of Descriptions of True Portraits of Illustrious and Memorable Gentlemen), a collection of drawings portraying Spaniards who stood out in the fields of politics, religion, the arts and letters, with a text accompanying each likeness. Pacheco enlisted th

Portrait of a Gentleman
Albumen, Gouache / tempera on cardboard, photographic paper. Second half of the XIX century
Anonymous
Portrait of a Gentleman
Albumen, Gouache / tempera on cardboard, photographic paper. Second half of the XIX century
Anonymous

Esta fotografía se había identificado erróneamente como un autorretrato del pintor Carlos Luis de Ribera (1815-1891) a la acuarela y como tal fue publicado en 1983. Previamente, la obra había formado parte de la exposición monográfica sobre el pintor Ribera que tuvo lugar en el Museo del Romanticismo en 1955, donde figuró como un pastel sobre cartulina: personaje vestido de negro apoyado sobre un

Portrait of a young woman wearing a ruff
Black chalk, Red chalk on paper. Second half of the XVI century
Anonymous
Portrait of a young woman wearing a ruff
Black chalk, Red chalk on paper. Second half of the XVI century
Anonymous

The drawing is laid down onto Brun´s (?) mount, with his inscription F. BAROCCI. The attribution follows the older inscription written in the reverse, in the hand of the so-called Italian Supplier. This is a copy of Portrait of a young lady by Barocci in the Galleria degli Uffizi, Florencem datable c. 1570-75.

Portrait of a Lady
Black chalk, Touches of white chalk on grey paper. XVIII century
Anonymous
Portrait of a Lady
Black chalk, Touches of white chalk on grey paper. XVIII century
Anonymous

Retrato de una dama que se representa con la cabeza de frente y un enorme sombrero de moda francesa de hacia 1785.Por su factura recuerda dibujos de Antonio González Ruíz. Podría ser obra suya de los últimos años. (Texto extractado de Pérez Sánchez, Alfonso E.: Catálogo de Dibujos. II. Dibujos Españoles. Siglo XVIII (C-Z), Museo del Prado, Madrid, 1977, p. 142).

Portrait of a Gentleman (Felipe de la Secada)
Pastel on paper. XIX century
Anonymous
Portrait of a Gentleman (Felipe de la Secada)
Pastel on paper. XIX century
Anonymous

Portrait of a Lady
Black chalk on yellow laid paper. XVIII century
Anonymous
Portrait of a Lady
Black chalk on yellow laid paper. XVIII century
Anonymous

Retrato de perfil, a la izquierda el medallón está orlado de laurel y palma, y debajo una cartela, todo de tono muy clásico. (Texto extractado de Pérez Sánchez, Alfonso E.: Catálogo de Dibujos. II. Dibujos Españoles. Siglo XVIII (C-Z), Museo del Prado, Madrid, 1977, p. 141-142).

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