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Still Life with a Dog and a Cat
Oil on panel. Ca. 1650
Luyckx, Carstian
Still Life with a Dog and a Cat
Oil on panel. Ca. 1650
Luyckx, Carstian

Luycks depicts a table with a basket of grapes, quince and other fruit as well as a hare and various dead birds. At the lower right a dog barking at a cat adds a note of life to the scene. Christiaan Luycks was a follower of Jan Fyt.

Smokers and Drinkers
Oil on panel. 1652
Teniers The Younger, David
Smokers and Drinkers
Oil on panel. 1652
Teniers The Younger, David

Three figures enjoy tobacco in an expressive manner in the foreground while an onlooker leans through the window. Around a table in the background, another group of figures drinks or plays cards. This is an example of scenes inside taverns with smokers, drinkers and players, which Teniers made during the sixteen thirties. He began with figures by his teacher, Adriaen Brouwer (1605/1606-1638), whic

Expulsion of the Merchants from the Temple
Oil on canvas. Ca. 1568
Bassano, Jacopo (Jacopo Dal Ponte)
Expulsion of the Merchants from the Temple
Oil on canvas. Ca. 1568
Bassano, Jacopo (Jacopo Dal Ponte)

Although for this first version Jacopo borrowed elements from early works such as the young man peeking his head round the column, which appears in the 1536 La fornace ardente (Bassano del Grappa, Museo Civico), he drew mainly from Stefano Cernotto´s Expulsion of the Merchants from the Temple (Venice, Accademia, deposited at the Ceni Foundation). Cernotto, an artist of Dalmatian origin who worked

Lady and Girl
Oil on panel. 1567
Cronenburch, Adriaen Van
Lady and Girl
Oil on panel. 1567
Cronenburch, Adriaen Van

These four portraits of women, two double ones and two single ones (P02073, P02074 and P02076) presented standing and down to kneelevel, use the same architectural setting. The series is given visual unity by the use of a central niche and two more, barely visible ones at the sides, separated by masonry pillars and decorated with small lions’ heads in the centre.This use of shared elements is prob

Queen María Luisa in a Dress with hooped Skirt
Oil on canvas. Ca. 1789
Goya y Lucientes, Francisco de
Queen María Luisa in a Dress with hooped Skirt
Oil on canvas. Ca. 1789
Goya y Lucientes, Francisco de

A full-length portrait of Queen María Luis de Parma (1751-1819), wife of King Carlos IV (1748-1819), wearing a large feathered hat and French lace, with a seventeenth-century style bustle and the sort of large skirt flattened in front and back that replaced the farthingale. The only jewelry she wears is the Cruz Estrellada award. Her hand rests on a table covered with a tablecloth on which

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

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

Dama y niña
Oil on panel. 1567
Cronenburch, Adriaen Van
Dama y niña
Oil on panel. 1567
Cronenburch, Adriaen Van

These four portraits of women, two double ones and two single ones (P02073, P02075 and P02076) presented standing and down to kneelevel, use the same architectural setting. The series is given visual unity by the use of a central niche and two more, barely visible ones at the sides, separated by masonry pillars and decorated with small lions’ heads in the centre.This use of shared elements is prob

Kitchen Still Life
Oil on canvas. 1651
Anonymous
Kitchen Still Life
Oil on canvas. 1651
Anonymous

This attractive and singular mid-17th-century Spanish still life was originally thought to be by Antonio de Pereda, due to its similarity to two canvases at the Museo de Arte Antiga in Lisbon, which he signed and dated in 1651. However, notwithstanding its approximate resemblance to Pereda’s creations, a convincing attribution has yet to be encountered. Foodstuffs and utensils are scattered in com

Boys Drawing
Oil on canvas. 1890
Pinazo Camarlench, Ignacio
Boys Drawing
Oil on canvas. 1890
Pinazo Camarlench, Ignacio

As on many other occasions, the painter´s sons are his model for this work. In a barely-furnished room, the two brothers have fun together. José, the elder, leans on the table, drawing, while Ignacio fondly rests his hand on his older brother´s back, observing the progress. This scene is an example of the sort of intimate and familiar painting this artist made throughout his life. Of partic

Philip II
Oil on canvas. 1549 - 1550
Titian (Tiziano Vecellio) (Workshop Of)
Philip II
Oil on canvas. 1549 - 1550
Titian (Tiziano Vecellio) (Workshop Of)

Philip II (r. 1556-98) was Titian´s most important patron, and together they forged one of the most fruitful artistic relationships of the European Renaissance. Philip surpassed all of the Venetian painter´s previous patrons both in the number of commissions and in their variety. Unlike his father, Emperor Charles V (r. 1519-56), Philip was not satisfied with only portraits and devotional works; h

Christ presents the Redeemed from Limbo to the Virgin
Oil on panel. 1510 - 1518
Yáñez de la Almedina, Fernando (And Workshop)
Christ presents the Redeemed from Limbo to the Virgin
Oil on panel. 1510 - 1518
Yáñez de la Almedina, Fernando (And Workshop)

In 1954 this work, then in the Adanero Collection, was published by Angulo Íñiguez who unhesitatingly attributed it to Yáñez de la Almedina, or at least, his workshop. This attribution was accepted by Garín Ortiz de Taranco in the second edition of his book on Yáñez (1978), with added mention of its thematic ties to an altarpiece also attributed to

Agnus Dei
Oil on canvas. 1635 - 1640
Zurbarán, Francisco de
Agnus Dei
Oil on canvas. 1635 - 1640
Zurbarán, Francisco de

A dark background and a gray table are the setting for this painting’s only motive: a merino lamb between eight and twelve months old. Still alive, it lies with bound feet in an unmistakably sacrificial posture curiously reminiscent of famous images of martyred saints like Stefano Maderno’s moving sculpture of Saint Cecilia at the basilica of Santa Cecilia in Rome. The painter draws on Zurbar&aacu

The Holy Family of Cardinal Fernando de’ Medici
Oil on canvas. 1584
Allori, Alessandro
The Holy Family of Cardinal Fernando de’ Medici
Oil on canvas. 1584
Allori, Alessandro

Cardinal Fernando de’ Medici gave this canvas to the Minorite seminary of San Francisco de Paula, the saint who kneels in the foreground. The seminary, in Alcalá de Henares, was founded by the influential wife of Bartolomé de Santoyo, Keeper of the King’s Jewels and Royal Secretary. The canvas reflects the new style developed by the painter Santi di Tito in Florence from 1575 onwards

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

The Temptations of Saint Anthony
Oil on panel. 1520 - 1524
Massys, Quinten; Patinir, Joachim
The Temptations of Saint Anthony
Oil on panel. 1520 - 1524
Massys, Quinten; Patinir, Joachim

The format and the dimensions of this picture and the high horizon line allow for rendition of a large landscape, which displays what are generally regarded as the defining characteristics of Patinir`s style. Like the Rest on the Flight into Egypt (P1611), the foreground figures are shown on top of a hill in a scale suited to the proportions of the panel. On the much lower level of the middle grou

Cardinal Borja
Oil on canvas. Ca. 1721
Procaccini, Andrea
Cardinal Borja
Oil on canvas. Ca. 1721
Procaccini, Andrea

A portrait of Cardinal Carlos de Borja Cetellas Ponce de León (1664-1733), son of the IX Duke of Gandia. He was one of the most influential personages in Spain during the first half of the eighteenth century and Felipe V´s Main Chaplain. He wears the garb of a Cardinal, with his left hand on the biretta that rests on a red velvet pillow on a table at the right of the composition. On t

María Dolores Aldama, Marchioness of Montelo
Oil on canvas. 1855
Madrazo y Kuntz, Federico de
María Dolores Aldama, Marchioness of Montelo
Oil on canvas. 1855
Madrazo y Kuntz, Federico de

This young aristocrat, portrayed in three-quarter length, stands posed before the viewer wearing a magnificent black satin and velvet dress trimmed with lace and ribbons, a close-fitting bodice and a full, domed skirt. Her hair is smoothed and parted, with braids wound around her ears and gathered in the back, held in place with a large, bejewelled pin and lace frill. She wears, at her neckline, a

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