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Still Life with Breams, Oranges, Garlic, Seasoning and Kitchen Utensils
Oil on canvas. 1772
Meléndez, Luis Egidio
Still Life with Breams, Oranges, Garlic, Seasoning and Kitchen Utensils
Oil on canvas. 1772
Meléndez, Luis Egidio

Two splendid sea breams play the leading role here. They are surrounded by lesser motifs, including oranges, a kitchen towel, a head of garlic, and packet of what is probably spice, two terracotta bowls from Alcorcón, a long-handled pan, a mortar whose pestle leans into the background, and a cruet that participates in this work’s careful study of light as a means of defining volumes, divers

Kitchen Still Life
Oil on canvas. 1637 - 1642
Master S. B.
Kitchen Still Life
Oil on canvas. 1637 - 1642
Master S. B.

This splendid painting, which came from the Buen Retiro Palace, Madrid (where it was cited in a 1794 inventory), was until recently attributed to Giovanni Battista Ruoppolo (1626-1693), based on the hypothesis proposed by Alfonso E. Pérez Sánchez in 1967. Now, however, it represents one of the most important recent additions to the corpus of known works by the mysterious Master S.B.,

Still Life with Fish and Turtle
Oil on canvas. Ca. 1680
Recco, Giuseppe
Still Life with Fish and Turtle
Oil on canvas. Ca. 1680
Recco, Giuseppe

Giuseppe Recco, a member of one of the most famous families of Neapolitan still-life painters in the seventeenth century, was born in Naples on 12 July 1634. His vast output was consistently high in quality and is characterised by a marked cultural eclecticism, taking in a number of different still-life styles, from Spanish to northern European to Roman, with an unusual iconographic versatility.In

Self-portrait
Oil on canvas. 1892
Pla y Gallardo, Cecilio
Self-portrait
Oil on canvas. 1892
Pla y Gallardo, Cecilio

Depicting himself without the tools of his profession, Pla is accompanied by portraits of his aunt and his mother and a terracotta bust of his father. These family images imply a homage to his parents, a concept frequently expressed in self-portraits by other artists of this period. The copy of Prince Baltasar Carlos on Horseback by Velázquez, which also appears in a prominent position in s

La Celestina and the lovers
Brush, Pencil, Coloured wash on laid paper. 1784
Paret y Alcázar, Luis
La Celestina and the lovers
Brush, Pencil, Coloured wash on laid paper. 1784
Paret y Alcázar, Luis

This title by which this drawing is known, La Celestina and the lovers, only reveals part of the scene that Paret depicts with extraordinary precision and thoroughness, as is typical of his work. Gaya Nuño has already pointed out that the old woman resembles a witch, as is evidenced by some of the objects arranged around her. But rather than a witch, she is a sorceress, a popular type of ch

The Adoration of the Shepherds
Pencil ground, Grey-brown ink, White lead, Wash on tinted paper. Late XVI century
Balducci, Giovanni
The Adoration of the Shepherds
Pencil ground, Grey-brown ink, White lead, Wash on tinted paper. Late XVI century
Balducci, Giovanni

This attractive compositional study is typical of Balducci´s style of drawing from the 1580s, the period of the artist´s early maturity. The pictorial effect is enhanced by the hot, brick-red ground, a paler tint of which was often used by Florentine artists as a preparation for drawing from as far back as the late fifteenth century and was used by such artists as Leonardo da Vinci (1452-1519), Fr

Adam Sleeping
Terracotta. 1882
Samsó, Juan
Adam Sleeping
Terracotta. 1882
Samsó, Juan

This work, signed on April 14, 1882, is clearly related to classical sculpture and its interpretation in the Faun that Sergel made in Rome (Nationalmuseum, Stockholm). This is especially visible in the position of the horizontal position of the torso and legs, as well as the left arm. The Museo del Prado has two other very interesting small-format terra-cotta works by Juan Samsó (Barcelona,

Venus and Mars
Marble. 1820 - 1830
Canova, Antonio (Circle Of)
Venus and Mars
Marble. 1820 - 1830
Canova, Antonio (Circle Of)

The Marquess of Salamanca sold Venus and Mars by Antonio Canova (1757-1822) to the Museo del Prado in 1881. At the time of acquisition, its attribution had been maintained for decades, but when Pavanello was cataloguing all of Canova’s work in 1976, he considered it a copy. While focusing on Canova’s workshop, Reyero (1996) thought the piece could have been made in the 1820s by someone in Canova’s

Nude Girl (from The Onset of Winter)
Carrara marble. 1892
Blay y Fábrega, Miguel
Nude Girl (from The Onset of Winter)
Carrara marble. 1892
Blay y Fábrega, Miguel

Blay customarily made versions of fragments of his works, which he handled separately. This sculpture at the Museo del Prado is a fragment from the group titled The Onset of Winter. During his stay in Rome in 1892, Blay made a terracotta model of an old man and a girl, both dressed, suffering the rigors of winter. For the expanded version, he tested nude figures to see if they would be more expres

To the Ideal
Plaster. 1896
Blay y Fábrega, Miguel
To the Ideal
Plaster. 1896
Blay y Fábrega, Miguel

Blay made this extremely delicate and highly idealized sculptural group to show that he was capable of creating works outside of the strictures of realism. As he put it: “I plan to call it White Souls, two predestined souls that reach their goal, moving forward resolutely, overcoming setbacks and wanting neither to feel the thorns on which they walk nor to pay heed to the stumbling blocks they enc

Frieze with Two Riders Racing
Terracotta. 500 A.C. - 475 a.C.
Anonymous
Frieze with Two Riders Racing
Terracotta. 500 A.C. - 475 a.C.
Anonymous

Panel from an Italian-Etruscan temple. This piece would have covered the temple’s horizontal wooden wall. As many as one hundred identical reliefs have been found at some locations in Etruria, where they formed friezes up to 60 meters in length. A lack of exact parallels makes it impossible to identify the present plaque’s original location. Made from a single mold, the two figures are represented

Maria of Hungary
Bronze. 1553 - 1564
Leoni, Leone; Leoni, Pompeo
Maria of Hungary
Bronze. 1553 - 1564
Leoni, Leone; Leoni, Pompeo

Together with her brother Charles V, Mary of Hungary (1505–1558) was Leone Leoni’s most important patron at the imperial court. Leoni and Mary, governor of the Low Countries, met on three occasions: in Brussels in 1549, in Augsburg three years later, and again in Brussels in 1556.The present bronze, together with a further nine, full-length figures, was commissioned in 1549 for the dynastic galler

Bust of Mariano Fortuny
Terracotta. 1869
D'épinay, Prosper
Bust of Mariano Fortuny
Terracotta. 1869
D'épinay, Prosper

The sculptor and caricature artist Prosper d’Épinay was a close friend of Fortuny’s and they made portraits of each other. Modelled in Rome, this bust is one of the only two portrait sculptures of Fortuny executed during his lifetime and is an early example of the admiration his personality and oeuvre aroused in his colleagues. This appreciation grew notably from 1870 onwards following the

The Blessed Raimundo Lulio
Terracotta. 1895
Samsó, Juan
The Blessed Raimundo Lulio
Terracotta. 1895
Samsó, Juan

Delicado boceto en terracota, muy bien conservado. No hay datos que indiquen si se trataba de un estudio para un monumento o si era un proyecto a desarrollar o solamente un trabajo personal.

Bust of Apollo
White marble. Late XVII century
Anonymous
Bust of Apollo
White marble. Late XVII century
Anonymous

This is a male bust in white marble with a partially naked torso. His left shoulder is draped with a piece of cloth. The sculpture possesses all the characteristics of an Apollo from the 17th century or the first decades of the 18th century. It was probably intended to decorate a garden and perhaps to be accompanied by muses or other gods. This work suffered the loss of the nose, which was subsequ

Pietà
Terracotta. 1882
Samsó, Juan
Pietà
Terracotta. 1882
Samsó, Juan

Delicado boceto en terracota de La Piedad, muy bien conservado. Presenta una composición que trasmite el profundo sentimiento de la escena. La figura de Cristo es un cuerpo menos robusto que el modelado tradicionalmente, no se apoya en su regazo sino que cae al suelo, y la Virgen apenas lo sostiene, sino que se inclina hasta casi besarle, consiguiendo una expresión de intima sensibilidad. Se encue

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