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José Gutiérrez de los Ríos
Oil on canvas. 1849
López Portaña, Vicente
José Gutiérrez de los Ríos
Oil on canvas. 1849
López Portaña, Vicente

Está retratado hasta las rodillas a sus sesenta y nueve años, sentado en un sillón. Viste traje y corbata negros, chaleco marfil y un bello broche en la pechera de la camisa. En la solapa luce la venera de caballero de Montesa y de la botonadura del chaleco pende la leontina de su reloj. Apoya el brazo derecho en un libro sobre varias cartas, en una de las cuales se lee la dedicatoria, sobre un ve

The Last Supper
Oil on canvas. Ca. 1794
Maella, Mariano Salvador
The Last Supper
Oil on canvas. Ca. 1794
Maella, Mariano Salvador

Preparatory sketch for a work possibly intended for the private chapel of the Infante Don Antonio Pascual in the Royal Palace of Aranjuez. The composition is very similar to the Last Supper in the Royal Palace of Madrid painted by Maella in 1794.

Still Life with Box of Jelly, Bread, Salver with Glass and Cooler
Oil on canvas. 1770
Meléndez, Luis Egidio
Still Life with Box of Jelly, Bread, Salver with Glass and Cooler
Oil on canvas. 1770
Meléndez, Luis Egidio

Meléndez’s works are characterized by his interest in familiar, everyday realities, which he places in the immediate foreground as if seeking direct contact with the viewer. And yet, in the context of this desire to create a repertoire of common foodstuffs and utensils, we occasionally find a more distinguished and decorative object, less popular than its everyday kitchen surroundings. Here

Table
Oil on canvas. 1636 - 1650
Benedetti, Andries
Table
Oil on canvas. 1636 - 1650
Benedetti, Andries

On a table partially covered by a green tablecloth, the painter has placed a white cloth, delicate gold-worked jars and glasses that reflect the light, a dish with ham, bread and a large basket of peaches and several types of grapes. There is also a half-peeled lemon, typical of Nordic still-lifes. In the background, there is a large red curtain and a gallery with columns. Charged with symbolic an

The Last Supper
Oil on panel. 1555 - 1562
Juanes, Juan de (Vicente Juan Masip)
The Last Supper
Oil on panel. 1555 - 1562
Juanes, Juan de (Vicente Juan Masip)

Painted for the base of the main altarpiece of San Esteban in Valencia (P00838, P00839, P00840, P00841 and P00842), Inspired by Leonardo, both in the definition of the space and in the eloquent expressiveness of the apostles, it also shows Juanes’s close relationship with Raphael. In keeping with traditional iconography in Spain, he focussed the scene on Jesus, serene and triumphant at the moment

The Calling of Saint Matthew
Oil on canvas. 1661
Pareja, Juan de
The Calling of Saint Matthew
Oil on canvas. 1661
Pareja, Juan de

Christ appears in the tax collector’s office and calls on Matthew to follow him. Matthew, depicted raising his right hand to his breast and with a star above his head, would become one of Christ’s most faithful followers and the author of one of the Gospels. Pareja, Velázquez’s former slave, places considerable emphasis on the setting of this work and also includes himself in the compositio

The Last Supper
Oil on canvas. 1593 - 1594
Carracci, Agostino
The Last Supper
Oil on canvas. 1593 - 1594
Carracci, Agostino

Together with his brother Annibale and his cousin Ludovico, Agostino Carracci founded the so-called Accademia degli Incamminati in Bologna. Its teachings promoted the study of nature and the work of the great Renaissance masters in order to avoid the overly-complex forms of Mannerist painting. While the colouring and handling of this canvas are influenced by Tintoretto, the monumental figures of t

Still Life with Watermelon, Pastries, Bread and Wine
Oil on canvas. 1770
Meléndez, Luis Egidio
Still Life with Watermelon, Pastries, Bread and Wine
Oil on canvas. 1770
Meléndez, Luis Egidio

Luis Meléndez distinguished himself as the greatest bodegón, or still-life, painter in late eighteenth-century Spain. By this time, the popularity of the genre had declined in Spain and was not practiced by any of Meléndez’ contemporaries at court. Even so, Meléndez painted over one hundred bodegones in his lifetime, leading art historians to infer that he took a person

Still Life with Plums, Figs and Bread
Oil on canvas. Second half of the XVIII century
Meléndez, Luis Egidio
Still Life with Plums, Figs and Bread
Oil on canvas. Second half of the XVIII century
Meléndez, Luis Egidio

Se ve un plato, del tipo “castañuela”, de borde historiado -siguiendo un diseño popular- que posiblemente posea un origen talaverano; ejerce el papel de recipiente desbordado por las ciruelas, algunas en ramo, que lo colman. A un lado, sobre una servilleta doblada, una rosca de pan refleja con acierto el impacto de la luz; al otro, tres higos rellenan el vacío de la izquierda, procurando equilibra

Still Life with Melon, Figs, Apples, Wineskin, and Picnic Hamper in a Landscape
Oil on canvas. Third quarter of the XVIII century
Meléndez, Luis Egidio
Still Life with Melon, Figs, Apples, Wineskin, and Picnic Hamper in a Landscape
Oil on canvas. Third quarter of the XVIII century
Meléndez, Luis Egidio

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

Ignacio Gutiérrez Solana, Overseer of the Royal Stables
Oil on canvas. Ca. 1823
López Portaña, Vicente
Ignacio Gutiérrez Solana, Overseer of the Royal Stables
Oil on canvas. Ca. 1823
López Portaña, Vicente

The man in the portrait, wearing his palace uniform, holds in his left hand a bundle of “royal orders”. The painting follows the style of portraits of professionals that López worked on in his years at the service of Fernando VII, in which he stressed the sitter’s job through the tools of his trade.

The Death of the Virgin
Oil on panel. Ca. 1470
Master Of Sopetrán
The Death of the Virgin
Oil on panel. Ca. 1470
Master Of Sopetrán

These panels (P2575, P2576, P2578), formerly in the Benedictine monastery at Sopetrán (Guadalajara), were part of an altarpiece created in Brussels that originally included a sculptural group. The artist was a follower of Rogier van der Weyden, as clearly revealed in the scene of the Annunciation, which is a version of a well-known composition by this artist. The panels were commissioned by

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

Isaac and Jacob
Oil on canvas. 1637
Ribera, Jusepe de, lo Spagnoletto
Isaac and Jacob
Oil on canvas. 1637
Ribera, Jusepe de, lo Spagnoletto

This painting narrates an event from chapter 27 of Genesis, in which Jacob tricks his father, Isaac, in order to obtain the blessing that should rightfully go to his older brother, Esau. Jacob’s mother, Rebecca, helps him dress in Esau’s clothes and cover his arm with a sheepskin that resembles his brother’s abundant body hair. He then takes food to his elderly, blind father, Isaac, thus inducing

The Birth of the Virgin
Oil on canvas. 1603
Pantoja de la Cruz, Juan
The Birth of the Virgin
Oil on canvas. 1603
Pantoja de la Cruz, Juan

At the German Imperial court, into which Queen Margaret of Austria (1584-1611) was born, portraits of royalty were often included in religious scenes; these paintings were known in Spanish as portraits “a lo divino”. This canvas, which was commissioned by the queen herself, shows three of her sisters, together with their mother, the Duchess of Styria.

The Holy Family
Oil on panel. 1522
Orley, Bernard Van
The Holy Family
Oil on panel. 1522
Orley, Bernard Van

The Holy Family is shown indoors, in front of a window thought which a costal landscape is visible. The Christ Child stands on a sumptuous carpet and plays with his mother. Saint Joseph holds an apple —an allusion to the Garden of Eden-that symbolizes Mary´s condition as the new Eve. An Angel crowns the Virgin as Queen of Heaven while another offers her a basket of flowers like those resting on th

The Dormition of the Virgin
Oil on canvas. 1651
Gilarte, Mateo
The Dormition of the Virgin
Oil on canvas. 1651
Gilarte, Mateo

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