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Landscape with Carmelites
Oil on canvas. 1634 - 1639
Both, Jan
Landscape with Carmelites
Oil on canvas. 1634 - 1639
Both, Jan

This painting entered the Museum as an original work by Jan Both, attribution that has been maintained in the catalogues until the present day. In 1973 Valdivieso identifies it as the picture listed in the 1701 inventory of the Palace of the Buen Retiro and retains the ascription to Jan Both, which is supported by Luna (1984) and Capitelli (2005). Burke (1976) refers to it without an attribution.B

Landscape with a Carthusian (Saint Bruno?)
Oil on canvas. 1636 - 1638
Swanevelt, Herman Van
Landscape with a Carthusian (Saint Bruno?)
Oil on canvas. 1636 - 1638
Swanevelt, Herman Van

The painting entered the Museum holdings as an original work by Jan Both. In 1959 Blunt identifies it as the landscape listed in the 1701 inventory of the Palace of the Buen Retiro and maintains the attribution to Both, as does Roethlisberger (1961). However, Waddingham (1960) ascribes it to Herman van Swanevelt, an attribution backed by Luna (1984) and officially adopted by the Museum in 1985. Th

The Finding of Moses
Oil on canvas. 1639 - 1640
Claude (Lorrain, Byname Of Claude Gellée)
The Finding of Moses
Oil on canvas. 1639 - 1640
Claude (Lorrain, Byname Of Claude Gellée)

A broad landscape is the setting for Moses’s rescue from the Nile River by the Egyptian Pharaoh’s daughter and her retinue. In the foreground, a shepherd sleeps, indifferent to the events taking place behind him. The lush landscape, flowing river with a bridge, and the city in the background to the right are artistic license, and the original vegetation is evoked by only one element: the palm tree

A harbour scene
Oil on canvas. 1638 - 1639
Rosa, Salvator
A harbour scene
Oil on canvas. 1638 - 1639
Rosa, Salvator

This work poses two main problems. The first is its assignment to the Buen Retiro group, and the second, directly linked to the first, is its date. In 1961 Marcel G. Roethlisberger noted the painting’s possible link to the palace, but did not consider it one of those works originally commissioned because he was unable to find mention of it in the testament of Charles II.Barbara Von Barghahn did fi

Mountain Landscape with Hut and Vegetables
Oil on canvas. 1634 - 1639
Swanevelt, Herman Van
Mountain Landscape with Hut and Vegetables
Oil on canvas. 1634 - 1639
Swanevelt, Herman Van

The painting entered the Museum`s holdings as a work of the school of Jan Both, but it is listed as an original by the painter in the 1843 catalogue. In 1973 Valdivieso identifies it as one of the landscapes recorded in the Buen Retiro inventory of 1701 and proposes it be ascribed to Herman van Swanevelt. This attribution is backed by Luna (1984), Barghahn (1986) and Steland (2001 and forthcoming)

Landscape with Wayfarers, Boy and Dog
Oil on canvas. 1639 - 1641
Swanevelt, Herman Van
Landscape with Wayfarers, Boy and Dog
Oil on canvas. 1639 - 1641
Swanevelt, Herman Van

The painting entered the Museum`s holdings as an original work by Herman van Swanevelt, an attribution that has been maintained by subsequent catalogues. In 1973 Valdivieso identifies it as the landscape described in the inventory of 1701 and maintains the ascription to Van Swanevelt, which is also backed by Burke (1976), Luna (1984), Barghahn (1986), Galera Mendoza (2001) and Steland (forthcoming

Landscape with Hermit bound in Chains
Oil on canvas. 1634 - 1639
Swanevelt, Herman Van
Landscape with Hermit bound in Chains
Oil on canvas. 1634 - 1639
Swanevelt, Herman Van

This painting entered the Museum`s holdings as a copy of a work by Jan Both, described as Saint Francis in Penitence and listed as the companion piece to Landscape with Saint Francis in Meditation. It was later catalogued as an anonymous work of the Germanic schools and from 1910 onwards as an anonymous Flemish work. However, this landscape can be identified with one of the pictures described in t

Landscape with Travellers and a Shepherd
Oil on canvas. 1635 - 1636
Swanevelt, Herman Van
Landscape with Travellers and a Shepherd
Oil on canvas. 1635 - 1636
Swanevelt, Herman Van

This painting is identified in the early catalogues of the Museum`s holdings with the landscape listed in the 1766 inventory of the collection of Isabella Farnese in the palace of La Granja, which, in turn, could be the landscape with shepherds by the hand of the Hermit (the nickname by which Herman van Swanevelt was known in Rome) recorded as being located in the Alcázar of Madrid in 1686,

Mountain Pass
Oil on canvas. 1639 - 1641
Both, Jan
Mountain Pass
Oil on canvas. 1639 - 1641
Both, Jan

The painting entered the Museum as an original work by Jan Both, an attribution that has been maintained in subsequent catalogues and which is also supported by Valdivieso (1973) and Barghahn (1986). Steland ascribes it, with reservations, to Herman van Swanevelt. Following the recent cleaning of the picture, the attribution to Jan Both would appear to be correct. The handling of the leaves of the

Crossing the Pass
Oil on canvas. 1639 - 1641
Both, Jan
Crossing the Pass
Oil on canvas. 1639 - 1641
Both, Jan

The present painting may be considered a companion piece to the previous work on account of its format, size, compositional scheme and subject matter. It entered the Museum`s holdings as an original work by Jan Both. This attribution is maintained in subsequent catalogues and backed by Valdivieso (1973) and Barghahn (1986). Steland (forthcoming) ascribes it, with certain reservations, to Herman va

Landscape with Saint Rosalia of Palermo
Oil on canvas. 1634 - 1639
Swanevelt, Herman Van
Landscape with Saint Rosalia of Palermo
Oil on canvas. 1634 - 1639
Swanevelt, Herman Van

The painting entered the Museum as an original by Jan Both, and it is recorded as such in subsequent inventories and catalogues until the edition of 1976. Further, up until 1972 it is described in the Museum publications as the companion piece to Landscape with Carthusian (Saint Bruno?) (P02064) and Landscape with Saint Benedict of Nursia (P02065). In 1959 Blunt identifies it as the landscape desc

Landscape with Saint Francis in Meditation
Oil on canvas. 1634 - 1639
Swanevelt, Herman Van
Landscape with Saint Francis in Meditation
Oil on canvas. 1634 - 1639
Swanevelt, Herman Van

Although the painting entered the Museum as a copy of a work by Jan Both, it is recorded as an anonymous work by the Flemish school from the 1843 catalogue onwards. It is listed as such by Díaz Padrón (1975), and the attribution is maintained up until the last general inventory (1990). In 1976 Barghahn identifies it as the landscape described in the Buen Retiro inventory of 1701 and

Landscape with Fisherman Family at Dusk
Oil on canvas. 1639 - 1641
Swanevelt, Herman Van
Landscape with Fisherman Family at Dusk
Oil on canvas. 1639 - 1641
Swanevelt, Herman Van

This painting entered the Museum as an original work by Herman van Swanevelt and as companion piece to Landscape with Hermit preaching (P5121), an attribution maintained in all subsequent catalogues and supported by Gerstenberg (1923), Waddingham (1964), Valdivieso (1973), Burke (1976), Barghahn (1986), Galera Mendoza (2001) and Steland (forthcoming). Barghahn misidentifies this landscape as entry

Landscape with Hermit preaching
Oil on canvas. 1639 - 1641
Swanevelt, Herman Van
Landscape with Hermit preaching
Oil on canvas. 1639 - 1641
Swanevelt, Herman Van

The painting entered the Museum as an original work by Herman van Swanevelt. This attribution is maintained in later catalogues and accepted by all authors. In early Museum catalogues the work is described as the companion piece to Landscape with Fisherman Family at Dusk (P2141).In the latest general inventory of paintings (1990) this work is listed as Landscape with Saint Paul preaching. However

Landscape with Saint Benedict of Nursia
Oil on canvas. 1634 - 1639
Swanevelt, Herman Van
Landscape with Saint Benedict of Nursia
Oil on canvas. 1634 - 1639
Swanevelt, Herman Van

This painting entered the Museum`s holdings as Saint Francis in the Brambles by Jan Both. The scene is correctly classified in the catalogue of 1873. A decade later Valdivieso (1973) identifies it as the landscape listed in the Buen Retiro inventory of 1701 and proposes it be attributed to Herman van Swanevelt, albeit with the possible collaboration of Jan Both in the landscape. Luna (1984), Bargh

Landscape with Fishermen and Shepherds on a Riverbank
Oil on canvas. 1639 - 1641
Both, Jan
Landscape with Fishermen and Shepherds on a Riverbank
Oil on canvas. 1639 - 1641
Both, Jan

The present painting entered the Museum as an original work by Jan Both. This attribution is maintained in subsequent catalogues and accepted by all authors. This landscape is an exception among those commissioned in Rome for the Palace of the Buen Retiro in that it is the only one that depicts a wild landscape. In addition, it does not extend into the distance; rather, the background is abruptly

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