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Joseph and the Wife of Putiphar
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti
Joseph and the Wife of Putiphar
Oil on canvas. Ca. 1555
Tintoretto, Jacopo Robusti

Joseph is a handsome and virtuous slave falsely accused of rape by his master´s wife, whose advances he has rejected. He is imprisoned, but eventually raised to the highest office by Pharaoh (Exodus: 39). Joseph and the Wife of Putiphar and Susannah and the Elders (P386) can be understood as parables of righteousness threatened and preserved, but here -as was usual for artists of the Renaissance a

The Virgin and Child adored by Saint Louis, King of France
Oil on canvas. Ca. 1665
Coello, Claudio
The Virgin and Child adored by Saint Louis, King of France
Oil on canvas. Ca. 1665
Coello, Claudio

Surrounded by angels, the Holy Family, with Saint Elizabeth and the infant Saint John, receive Saint Louis, King of France. The background combines architecture and curtains. This work is organized like a large stage set, using the infant Saint John and an adjacent lamb to invite the viewer to participate. The dynamic and complex composition with its brilliant and expansive colors recalls models f

Ecce Homo
Oil on panel. 1560 - 1570
Morales, Luis de
Ecce Homo
Oil on panel. 1560 - 1570
Morales, Luis de

Jesus is shown half-length, crowned with thorns and with a haggard face, parted lips, prominent cheekbones, and moist eyes raised in an attitude of submission to the divine will. His hair, beard, moustache and eyelashes are minutely rendered in a light brown colour. Similarly detailed is the treatment of the tears and drops of blood. The latter, caused by the thorns piercing his forehead and the w

The Mass of Saint Gregory
Oil on panel. 1515 - 1530
Isenbrandt, Adriaen
The Mass of Saint Gregory
Oil on panel. 1515 - 1530
Isenbrandt, Adriaen

Indebted to the Bruges tradition, the priest holding Saint Gregory’s tiara stems from Jan van Eyck’s Portrait of a Man with Carnation in Berlin and the composition accentuates the sfumato and the grace of Gerard David (c. 1460-1523). However, the architectures and the dynamic poses of the figures also echo Antwerp mannerism.

The Battle of Clavijo
Oil on canvas. 1755 - 1756
Giaquinto, Corrado
The Battle of Clavijo
Oil on canvas. 1755 - 1756
Giaquinto, Corrado

Mounted on a white steed and flanked by an angel bearing a flag, Saint James gallops over a multitude of fallen Moors and horses. The battle scene occupies a rocky landscape in the middle ground. This canvas is a sketch for the elliptical dome at the entrance to the Royal Palace’s chapel and was painted by Giaquinto between 1756 and 1757. The canvas and its corresponding fresco are clearly derived

Saint Agatha
Oil on unlined canvas. Ca. 1635
Vaccaro, Andrea
Saint Agatha
Oil on unlined canvas. Ca. 1635
Vaccaro, Andrea

The Sicilian saint looks imploringly to heaven as she is martyred and both her breasts cut off. The work of the Neapolitan Vaccaro reveals the influence of Guido Reni, here evident in the saint’s mystic pose and the calm resignation with which she accepts her fate.

The Immaculate Conception
Oil on canvas. Ca. 1665
Murillo, Bartolomé Esteban
The Immaculate Conception
Oil on canvas. Ca. 1665
Murillo, Bartolomé Esteban

The colours of the Virgin’s tunic and cloak, her loose hair, hands crossed on her breast, her devoted gaze raised to heaven and the presence of the moon are elements of the imagery of the Immaculate Conception. Full-length depictions of this subject always include the moon at the Virgin’s feet.

The Archduke Leopold William in his Picture Gallery in Brussels
Oil on copperplate. 1647 - 1651
Teniers The Younger, David
The Archduke Leopold William in his Picture Gallery in Brussels
Oil on copperplate. 1647 - 1651
Teniers The Younger, David

Depictions of painting galleries became popular in the Netherlands at the beginning of the 17th century. The exhibition of paintings and other artistic or natural objects was originally a way of manifesting the high social standing of an eminently bourgeois class with a strong desire to ennoble itself. In many cases, the paintings did not rigorously reflect the client’s collection, but served inst

Saint Francis comforted by an Angel
Oil on canvas. Ca. 1620
Ribalta, Francisco
Saint Francis comforted by an Angel
Oil on canvas. Ca. 1620
Ribalta, Francisco

Toward the end of the 17th century, Saint Francis’s iconography expanded as many of the classical biographic themes were replaced with more complex episodes -especially trance visions- mystical ecstasies that reflected the new Baroque esthetic and offered, in the case of Saint Francis, a new approach to the depiction of a figure whose life was being presented by his Order in terms of biographical

View of El Campillo, the El Escorial Monks' country home
Oil on canvas. Third quarter of the XVII century
Agüero, Benito Manuel de
View of El Campillo, the El Escorial Monks' country home
Oil on canvas. Third quarter of the XVII century
Agüero, Benito Manuel de

This work could be defined as a descriptive landscape combined with a genre scene of everyday life. Small figures inhabit a canvas that presents the buildings at El Campillo—a rest and recreation spot for monks and royalty—in the foreground, where it stands out against a light-colored sky with the Sierra de Guadarrama mountains in the distance.El Campillo, now a private estate along the road linki

The Martyrdom of Saint Stephen
Oil on panel. 1555 - 1562
Juanes, Juan de (Vicente Juan Masip)
The Martyrdom of Saint Stephen
Oil on panel. 1555 - 1562
Juanes, Juan de (Vicente Juan Masip)

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 to the Acts of the Apostles, Saint Stephen was condemned to stoning after angering the priests of the Sanhedrin assembly. While he commends his soul to God, the executioners angrily stone Stephen, who

Saint Thomas
Oil on canvas. 1630 - 1635
Ribera, Jusepe de, lo Spagnoletto
Saint Thomas
Oil on canvas. 1630 - 1635
Ribera, Jusepe de, lo Spagnoletto

Series of Apostles became very popular during the Counter-reformation; they were usually half-length figures against a neutral background, holding their iconographical attributes. One of the most important series is the one that Ribera painted around 1630. It is mentioned for the first time in the Royal Collection towards the end of the eighteenth century and is made up of paintings of varying qua

Lot and his Daughters
Oil on canvas. Ca. 1634
Furini, Francesco
Lot and his Daughters
Oil on canvas. Ca. 1634
Furini, Francesco

An outstanding work in Francesco Furini’s oeuvre and one of the most sensual and morbid of all Italian Baroque paintings, Lot and his daughters, c.1634, depicts the Old Testament story of Lot (Genesis 19:30-38), who escaped the destruction of Sodom thanks to a warning from the angels charged with its obliteration. Lot’s wife, who failed to obey their order not to look back, was turned into a pilla

Self-portrait
Oil on canvas. 1910
Simonet Lombardo, Enrique
Self-portrait
Oil on canvas. 1910
Simonet Lombardo, Enrique

Painted shortly before he permanently settled in Madrid, this self-portrait shows Simonet engaged in painting. Visible in the background is the portrait of his father. The figure of the artist and the portrait are reversed due to the use of a mirror when painting the work. The unfinished lower right corner reveals the artist’s technique.

Portrait of a Woman aged 35
Oil on panel. 1555
Floris, Frans
Portrait of a Woman aged 35
Oil on panel. 1555
Floris, Frans

Floris was the most important history painter in Antwerp in the second half of the sixteenth century, only painting portraits on a few occasions. The sitters -Portrait of a Gentleman Aged 48 (P1516) and Portrait of a Lady Aged 35 (P1517)- have not been identified. The man wears a ring bearing the coat of arms of the city of Amsterdam, suggesting that the couple may be a Dutch merchant and his wife

The Turkish Embassy in Naples
Oil on canvas. 1741
Bonito, Giuseppe
The Turkish Embassy in Naples
Oil on canvas. 1741
Bonito, Giuseppe

Giuseppe Bonito was a student of Francesco Solimena (1657-1747) and a follower of his artistic idiom. This can be seen in the decidedly Baroque appearance of his early mythological and religious works, which later led to an amiable, colourist Rococo style. Bonito specialised in genre paintings and portraits, and the present canvas is a fine example of his skills. It is especially attractive as a h

Charles II in armour
Oil on canvas. 1681
Carreño de Miranda, Juan
Charles II in armour
Oil on canvas. 1681
Carreño de Miranda, Juan

Charles II was born in 1661, the only son of Philip IV and his second wife (and niece), Mariana of Austria, to survive to adulthood. Charles succeeded his father in 1665 and died without an heir in 1700 at the age of 39, thus bringing to an end the Spanish Habsburg dynasty. According to the date on this portrait, the king would have been 20 years old at the time. His long hair is worn in a similar

Flight into Egypt
Oil on canvas. Second half of the XVI century
Bassano, Francesco
Flight into Egypt
Oil on canvas. Second half of the XVI century
Bassano, Francesco

Unlike the adoration of the shepherds, which took place at night according to the gospel account, the nocturnal setting for the Holy Family´s flight into Egypt was an invention of the painter, since Mathew 2: 13-15 narrates how an angel appeared to Joseph in a dream and warned him that the child was in danger, but does not state that the Family departed at night or preferred to leave at sunset. In

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