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Pietà
Oil on canvas. 1650 - 1660
Jordaens, Jacques
Pietà
Oil on canvas. 1650 - 1660
Jordaens, Jacques

The Virgin holds Christ´s dead body on her lap and turns an imploring look towards the heavens. Saint John, in red, Joseph of Arimathea and Nicodemus meditate on the event of which they are the protagonists. Towards the bottom, Mary Magdalene removes the Thorns form Christ´s head and Mary Salome kisses his hand. This is a work from Jordaens´ mature period, with the long, watery brushstrokes that c

The Crucifixion
Mixed method on panel. Ca. 1460
Sánchez, Juan
The Crucifixion
Mixed method on panel. Ca. 1460
Sánchez, Juan

This painter from Burgos represents the transition from the international Gothic style in which he was formed to the hispano-flemish style, whose models he adapts with his personal manner. The three figures -Christ, the Virgin and Saint John- are so large that they occupy the entire foreground. Very carefully painted, it was made as an independent work. The extensive use of gold, which has been ap

The Good Shepherd
Oil on canvas. Ca. 1660
Murillo, Bartolomé Esteban
The Good Shepherd
Oil on canvas. Ca. 1660
Murillo, Bartolomé Esteban

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 his outstanding ability to depict children to create one of the most effective depictions of the parable of the Good Shepherd.

The Foundation of Santa Maria Maggiore in Rome. The Patrician recounts his Dream to the Pope
Oil on canvas. 1664 - 1665
Murillo, Bartolomé Esteban
The Foundation of Santa Maria Maggiore in Rome. The Patrician recounts his Dream to the Pope
Oil on canvas. 1664 - 1665
Murillo, Bartolomé Esteban

This painting and its companion, The Patrician’s Dream (P994), are among Murillo’s most renowned works. The two arched works were intended to hang beneath a small dome in the recently remodeled Sevillian church of Santa María la Blanca in 1665, and they narrate the story of the founding of the Roman basilica of Santa Maria Maggiore as succinctly set out in the Roman Breviary’s information a

The Baptismal procession of Prince Juan, son of the Catholic Kings, through the streets of Seville
Oil on canvas. 1910
Pradilla y Ortiz, Francisco
The Baptismal procession of Prince Juan, son of the Catholic Kings, through the streets of Seville
Oil on canvas. 1910
Pradilla y Ortiz, Francisco

This painting depicts the baptism of Prince Juan. It is based on the description of that event from Historia de los Reyes Católicos (History of the Catholic Kings) by Andrés Bernáldez, published in 1856. The documentary rigor of this text is transferred to the canvas, so we can speak here of the archeological veracity with which Pradilla reconstructed that historical event. Th

Saint John the Evangelist on Patmos
Oil on canvas. Ca. 1620
Orrente, Pedro de
Saint John the Evangelist on Patmos
Oil on canvas. Ca. 1620
Orrente, Pedro de

This canvas is a good example of the numerous influences that acted on Orrente’s style. They include his Venetian training, evident in his approach to the landscape in this painting, and unmistakable traces of the Roman Caravaggesque style, revealed here in the figure of the Evangelist, both in the arrangement of the figure and the way it is illuminated.

The Foundation of Santa Maria Maggiore in Rome. The Patrician's Dream
Oil on canvas. 1664 - 1665
Murillo, Bartolomé Esteban
The Foundation of Santa Maria Maggiore in Rome. The Patrician's Dream
Oil on canvas. 1664 - 1665
Murillo, Bartolomé Esteban

This painting and its companion, The Patrician Reveals his Dream to the Pope (P995), are among Murillo’s most renowned works. The two arched works were intended to hang beneath a small dome in the recently remodeled Sevillian church of Santa María la Blanca in 1665, and they narrate the story of the founding of the Roman basilica of Santa Maria Maggiore as succinctly set out in the Roman Br

Saint John the Evangelist
Oil on panel. Ca. 1608
Pacheco, Francisco
Saint John the Evangelist
Oil on panel. Ca. 1608
Pacheco, Francisco

Esta obra formaba parte del retablo de doña Francisca de León en la iglesia del convento sevillano del Santo Ángel, junto con P01022, P01023 y P01023, que el pintor contrató en 1605. Ingresaron en el Museo en 1829 cedidos por el deán López Cepero, que los había adquirido en 1804.

Adoration of the Shepherds
Oil on canvas. After 1575
Anonymous
Adoration of the Shepherds
Oil on canvas. After 1575
Anonymous

This is a modest bottega product illustrating the passage on the birth of Christ (Luke 2: 8-20) which lends itself particularly well to a nocturnal setting. It is a replica, not of the Adoration of the Shepherds Jacopo executed in 1590 for San Giorgio Maggiore in Venice, as previously believed, but of the painting depicting the same theme housed at the Louvre (inv. 430), which is an entirely autog

Saint John the Baptist
Oil on canvas. 1659 - 1660
Valdés Leal, Juan de
Saint John the Baptist
Oil on canvas. 1659 - 1660
Valdés Leal, Juan de

Saint John is presented in the foreground as a young man playing with a lamb -one of his identifying attributes as well as a reference to the Agnus Dei, which is how the Baptist referred to Christ. This reference to the Lamb of God is double, as it is repeated on the ribbon wrapped around the crosspiece of his crook. In the background, the saint appears again, standing on a boulder and preaching t

Still Life with Dead Bird
Oil on panel. 1651
Espinosa, Juan de
Still Life with Dead Bird
Oil on panel. 1651
Espinosa, Juan de

The great charm of this still life has evidently long been apparent to lovers of painting, since it is first recorded in the collection of Gaspar de Haro, later VII Marqués del Carpio (1651), who was one of the most distinguished aristocratic picture collectors of his day. Its size is clearly a factor; the intimate scale is particularly alluring. Indeed, the appeal to collectors of small st

Eugenia Martínez Vallejo, Naked
Oil on canvas. Ca. 1680
Carreño de Miranda, Juan
Eugenia Martínez Vallejo, Naked
Oil on canvas. Ca. 1680
Carreño de Miranda, Juan

After the death of Velázquez, Carreño showed himself to be the artist most worthy of continuing the depiction of monsters, jesters, and dwarves that inhabited the Spanish court. Inventories show that the Alcázar possessed a large number of portraits of this kind by Carreño, among which are the two of the Monster, as well as others that have unfortunately disappeared. Th

Sabina Seupham Spalding
Oil on canvas. 1846
Madrazo y Kuntz, Federico de
Sabina Seupham Spalding
Oil on canvas. 1846
Madrazo y Kuntz, Federico de

This portrait of the wife of the banker Henry O’Shea reveals the British influence on Madrazo’s fully romantic period. Her social position is indicated by the quality of the fabrics, laces and jewels, and by the elegant arrangement of the hands. The books allude to the culture of this lady, who was a friend to the writer Washington Irving.

The Infant Saint John the Baptist
Oil on canvas. Ca. 1670
Murillo, Bartolomé Esteban
The Infant Saint John the Baptist
Oil on canvas. Ca. 1670
Murillo, Bartolomé Esteban

Alone in the countryside, a boy raises his hand to his breast while looking up to the heavens, his face illuminated by a beam of light. The lamb and the cross with the inscription “Ecce Agnus Dei” (Behold the Lamb of God) identify this figure as Saint John the Baptist, of whom the Gospels said: “the child grew and was strengthened in spirit and was in the deserts.”

The Buffoon Barbarroja, Cristóbal de Castañeda y Pernia
Oil on canvas. 1633
Velázquez, Diego Rodríguez de Silva y
The Buffoon Barbarroja, Cristóbal de Castañeda y Pernia
Oil on canvas. 1633
Velázquez, Diego Rodríguez de Silva y

The model’s identity is known through the 1701 inventory of the Buen Retiro Palace, which lists a painting two-and-a-third rods high and one-and-a-half rods wide, which is another portrait of a buffoon with Turkish-style clothing named Pernea by Velázquez’s hand and unfinished. This description makes it possible to identify him as don Cristóbal de Castañeda y Pernia, a buffoon

The Buffoon Francisco Bazán
Oil on canvas. Ca. 1680
Carreño de Miranda, Juan
The Buffoon Francisco Bazán
Oil on canvas. Ca. 1680
Carreño de Miranda, Juan

Francisco Bazán was a buffoon at the court of Charles II between 1676 and 1689. Carreño, who was reaching the end of his career when he painted this work, depicts the sitter as if delivering a note. The composition and way of inserting the figure into the pictorial space recall Velázquez’s portrait of Pablo de Valladolid.

Hercules diverting the Course of the River Alpheus
Oil on canvas. 1634
Zurbarán, Francisco de
Hercules diverting the Course of the River Alpheus
Oil on canvas. 1634
Zurbarán, Francisco de

Hercules looks at the viewer from the left side of the composition, cheerful after having rerouted the Alpheus river in response to a challenge by Augeas, King of Elis. The description of this episode in Charles II’s will as the cleaning of the Augean stables refers to what Pérez de Moya defined as stables where three thousand oxen slept, and very full of manure. As they had never been clea

Saint Joseph's Dream
Oil on canvas. Ca. 1662
Herrera The Younger, Francisco de
Saint Joseph's Dream
Oil on canvas. Ca. 1662
Herrera The Younger, Francisco de

An angel appears to Saint Joseph in his sleep, pointing to the dove of the Holy Ghost as the heavens open in a luminous burst of glory. Under the dove, a group of angels carry a mirror and flowers alluding to the fact that Mary remains a virgin despite her pregnancy. On a mat alongside the saint, we see an adze, a hand drill and other carpentry tools.Saint Joseph’s Dream was a relatively frequent

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