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Portrait of a Doctor
Oil on canvas. 1582 - 1585
el Greco (Domenikos Theotokopoulos)
Portrait of a Doctor
Oil on canvas. 1582 - 1585
el Greco (Domenikos Theotokopoulos)

The figure represented in this painting is identified as a doctor on account of the ring on the thumb of his left hand. This could be Luis Mercado, physician to Philip II, or Rodrigo de la Fuente, a personal friend of El Greco’s and a very influential figure in Toledo at that time. The work is cited in the 1686 inventory of the Alcázar Palace of Madrid, where it remained until the fire of 1

Still Life with Box of Jelly, Bread, Salver with Glass and Cooler
Oil on canvas. 1770
Meléndez, Luis Egidio
Still Life with Box of Jelly, Bread, Salver with Glass and Cooler
Oil on canvas. 1770
Meléndez, Luis Egidio

Meléndez’s works are characterized by his interest in familiar, everyday realities, which he places in the immediate foreground as if seeking direct contact with the viewer. And yet, in the context of this desire to create a repertoire of common foodstuffs and utensils, we occasionally find a more distinguished and decorative object, less popular than its everyday kitchen surroundings. Here

The Mystic Marriage of Saint Catherine
Oil on canvas. 1660
Cerezo, Mateo
The Mystic Marriage of Saint Catherine
Oil on canvas. 1660
Cerezo, Mateo

The wheel by the figure’s feet, her palm of martyrdom and crown identify her as Saint Catherine who received the wedding ring from the Infant Christ in reward for her virtue. The basket in the foreground demonstrates Cerezo’s outstanding abilities as a still-life painter.

Fans and Ring Loaves
Oil on canvas. 1778
Bayeu y Subías, Ramón
Fans and Ring Loaves
Oil on canvas. 1778
Bayeu y Subías, Ramón

A cartoon painted in 1778 for a tapestry to hang over the dining room door at the el Pardo Palace. Preparatory drawings by the artist´s brother, Francisco Bayeu, are at the Biblioteca Nacional and in a private collection in London.

Amalia de Solms-Braunfels
Oil on canvas mounted on panel. 1631 - 1632
Dyck, Anthony Van
Amalia de Solms-Braunfels
Oil on canvas mounted on panel. 1631 - 1632
Dyck, Anthony Van

Amalia de Solms-Braunfels (1602-1675) was the wife of Federico Enrique de Nassau (1584-1647), Prince of Orange, also painted by Van Dyck (P01482). As first lady of the House of Nassau, she wears an elegant black dress with a French collar. Its large décolletage is decorated with two rows of a pearl necklace and a short necklace. The broach on her bosom, the ring and pearl bracelets complete this i

Saint Catherine
Oil on panel. Ca. 1510
Yáñez de la Almedina, Fernando
Saint Catherine
Oil on panel. Ca. 1510
Yáñez de la Almedina, Fernando

This is one of the Spanish Renaissance’s most emblematic depictions of a female figure and the best known of Yáñez de la Almedina’s works. Both considerations are due to the visibility this work has received at the Museo del Prado, where it has been one of the essential icons in its galleries of 16th-century Spanish painting ever since it arrived in 1946. According to Jacopo de la Vo

The Mystic Marriage of Saint Catherine, with Saint Ursula and a Donor
Oil on panel. Ca. 1520
Anonymous
The Mystic Marriage of Saint Catherine, with Saint Ursula and a Donor
Oil on panel. Ca. 1520
Anonymous

This composition retains the structure of traditional triptychs, but the landscape links the three panels together to form a single scene, thus including the pilgrim-donor and Saint Ursula in the Mystic Marriage. The landscape includes scenes relating to the respective figures: walking pilgrims, the martyrdom of Saint Catherine, the Massacre of the Innocents and the Flight into Egypt.

Table of the Seven Deadly Sins
Oil on poplar panel. 1505 - 1510
Bosch, Hieronymus
Table of the Seven Deadly Sins
Oil on poplar panel. 1505 - 1510
Bosch, Hieronymus

Two banderoles, one above and the other below the central circle, contain Latin texts from Deuteronomy (32: 28-29 and 20), warning against the wages of sin. The upper banderole, between the tondos of Death and the Last Judgment, reads: Gens absq[ue] [con]silio e[st] et sine prudentia // deutro[m]y 32 [um//] utina[m] sapere[n]t [et] i[n]telligere[n]t ac novissi[m]a p[ro]videre[n]t (For they are a n

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

Portrait of a Young Gentleman
Oil on panel. 1517 - 1520
Mostaert, Jan
Portrait of a Young Gentleman
Oil on panel. 1517 - 1520
Mostaert, Jan

As this painting shows, the German portrait style survived in Antwerp well into the sixteenth century: the sitter is shown half-length against a brightly-coloured background. In his left hand he holds a ring, a standard attribute in wedding portraits. The female companion piece has not been identified.

Saints Andrew and Francis
Oil on unlined canvas. Ca. 1595
el Greco (Domenikos Theotokopoulos)
Saints Andrew and Francis
Oil on unlined canvas. Ca. 1595
el Greco (Domenikos Theotokopoulos)

Under a sky filled with leaden-gray storm clouds, Saint Andrew and Saint Francis of Assisi stand next to each other in conversation. The apostle appears on the viewer’s left, wearing a cobalt blue tunic and green robes whose purple silk lining has grey reflections. He faces the viewer and leans on his characteristic x-shaped cross, turning his head to his left, where Saint Francis stands. The latt

The Legend of the Monk King
Oil on canvas. 1880
Casado del Alisal, José
The Legend of the Monk King
Oil on canvas. 1880
Casado del Alisal, José

Traditionally known as The Bell of Huesca, this painting depicts one of the most terrifying events in the history of Medieval Spain. Ramiro II of Aragon decapitated all the noblemen who had dared to challenge his royal power, one by one. As he had promised to make a bell that would ring to reaffirm his power, he did so with the heads of the rebel noblemen. For the clapper, he used the head of the

John Frederick I of Saxony
Oil on canvas. 1548
Titian (Tiziano Vecellio)
John Frederick I of Saxony
Oil on canvas. 1548
Titian (Tiziano Vecellio)

John Frederick I of Saxony (Torgau, 30 June 1503–Jena, 3 March 1554), Duke of Saxony-Wittenberg from 1532, was the principal defender of Luther, a fact that brought him into conflict with Charles V. In 1546 these differences resulted in an armed conflict that culminated at Mühlberg on 24 April 1547 when the Imperial army defeated the Schmalkaldic League and captured its leaders, John Frederic

Christ carrying the Cross
Oil on canvas. Ca. 1565
Titian (Tiziano Vecellio)
Christ carrying the Cross
Oil on canvas. Ca. 1565
Titian (Tiziano Vecellio)

Renaissance painting abounds with representations of Christ bearing the cross on the road to Calvary, either as an isolated figure, or with an executioner assailing him, or accompanied by soldiers, curious bystanders and followers, among whom the depiction of Simon of Cyrene is relatively common. According to three of the evangelists (Matthew 27:32-33, Mark 15:21-22, and Luke 23:26-27), Simon carr

The Virgin and Child, known as the Durán Madonna
Oil on panel. 1435 - 1438
Weyden, Rogier Van Der
The Virgin and Child, known as the Durán Madonna
Oil on panel. 1435 - 1438
Weyden, Rogier Van Der

The panel has been trimmed on all four sides but little of the painted surface can have been lost. It is made from two boards of Baltic oak, both from the same tree; the last ring was formed in 1372. Black overpaint conceals areas of damage on our left of the Virgin`s face and on our left of the Child`s head and torso. On our right of the Virgin, a similar area of black overpaint may hide a shadow

Perejón, Buffoon of the Count of Benavente and of the Grand Duke of Alba
Oil on canvas. Ca. 1560
Mor, Anthonis
Perejón, Buffoon of the Count of Benavente and of the Grand Duke of Alba
Oil on canvas. Ca. 1560
Mor, Anthonis

The doubts that existed regarding the dating of this work were increased when the sitter was identified. He is documented from 1544 in the accounts of Prince Philip (later Philip II) as Pero Hernández de la Cruz, known as Perejón, one of the two ‘Pericos’ whose role at Court was to amuse the prince. The inventory of the Alcázar in Madrid of 1636 confirms this identification th

Marsilio Cassotti and his Wife Faustina
Oil on canvas. 1523
Lotto, Lorenzo
Marsilio Cassotti and his Wife Faustina
Oil on canvas. 1523
Lotto, Lorenzo

Having trained in Venice, probably with Giovanni Bellini, Lorenzo Lotto worked in Treviso (1503-1506), Recanati (1506- 1508) and Rome (c. 1508-1510) before settling in Bergamo.There, between 1513 and 1526, he painted for influential families such as the Tassi, Bonghi, Brembati and Cassotti.The Cassotti, wealthy textile merchants originating from Valle Imagna, used the arts to demonstrate their soc

Ramón de Errazu
Oil on panel. 1879
Madrazo y Garreta, Raimundo de
Ramón de Errazu
Oil on panel. 1879
Madrazo y Garreta, Raimundo de

This masterpiece by Raimundo de Madrazo represents his mature style in a worldly portrait painted with a personality that transcends his varied and different influences. Made a year before he was awarded first prize at the Universal Exposition of 1878 in Paris, it reveals the confidence of maturity. Moreover, this is a portrait of a very close friend who was also an outstanding collector. Errazu p

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