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This painting depicts the moment after Hercules has killed King Geryon, identified by the crown on his head. The monarch had come to defend his herd of oxen and cows after the god Eurystheus had order [+]
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 [+]
This view of the so-called Eagle’s Castle in Gaucín (Malaga), with the valley of the Genal River and the Plain of Gibraltar in the background, is similar to an earlier view by Villaamil’s maste [+]
On entering the Museum this painting was inventoried as a product of the Sevillian school, though the 1876 catalogue lists it as a work executed in the style of Jan Both. Valdivieso (1973) considers i [+]
This canvas depicts the Flavian amphitheatre in Rome, known as the Colosseum due to the giant statue of Nero that was located nearby. Robert was notably familiar with recent archaeological discoveries [+]
This is the largest of the paintings that Lemaire, a French artist working in Rome, produced for the decoration of the Buen Retiro Palace in Madrid. The architectural ruins and sculptural fragments ar [+]
In a landscape with classical ruins that allude to the defeat of paganism, the Christ Child tends a lamb. Murillo based this image on a print by Stefano della Bella (1610-1664), while making use of hi [+]
A herd of bulls graze beside the backwaters of a quiet river, closely watched by the herdsmen resting on the bank. Farther back, two barges filled with local men prepare to cross the river. The closer [+]
The date of this painting has been the subject of critical debate for over a century. The 1889 edition of the Prado catalogue states that it was signed but fails to mention a date. The 1910 version de [+]
The author of this work has been identified as the painter of an Adoration of the Magi signed, apocryphally, Hericus Blesius Fecit (Munich, Alte Pinakothek). The Museo del Prado’s work presents the sa [+]
Una figura con la poderosísima personalidad artística de Velázquez no podía por menos que dejar una profunda huella entre los demás pintores de la corte española. Esta influencia se notó especialmente [+]
Leaning on a classical ruin, Saint Joseph looks at the Virgin Mary with the Christ Child in her lap. Jesus, in turn, is receiving a roll with the words Ecce Agnus Dei from Saint John. This Latin inscr [+]
Both the royal inventories and Stchavinsky (1912) identify this scene as the story of Hecuba, wife of Priam of Troy. Wichmann (1923) disagrees, believing it to be the Finding of the bodies of Hero and [+]
During the years he spent in Rome, Van Poelenburch began painting scenes of this kind with small-or medium-sized figures, in which the presence of ruins is so powerful that they could almost be said t [+]
This scene belongs to the type of Italianate landscape which Asselijn cultivated in Holland based on drawings and sketches made from the life during his stay in Rome. Blankert (1965) dates the work to [+]
Genaro Pérez Villaamil (El Ferrol, 1807-Madrid, 1854) can be considered the most significant and influential Spanish Romantic landscape painter and an artist who had an intense interest, charac [+]
This painting forms part of the Altarpiece of San Esteban (Valencia), along with other scenes from the saint´s life (P00838, P00839, P00841 and P00842), as well as the Last Supper (P00846). According [+]
The scene here unfolds in the foreground, which is occupied by a large rocky outcrop and trees and on the right opens onto a luminous landscape enclosed by mountains in the background. The spatial tra [+]
