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Masinissa Mourning Over the Death of Sophonisba (?)
Oil on canvas. XVII century
Finoglia, Paolo Domenico
Masinissa Mourning Over the Death of Sophonisba (?)
Oil on canvas. XVII century
Finoglia, Paolo Domenico

Within the large series of paintings dedicated to the history of Rome, this work and Meleager’s Hunt (P2320) belong to a small group of scenes from mythology and the history of Antiquity. This is undoubtedly the most mysterious group in the series -so much so, that the subject matter of some of its paintings has yet to be identified today. Moreover, neither the significance of this group as a whol

Salome
Oil on canvas. Ca. 1550
Titian (Tiziano Vecellio)
Salome
Oil on canvas. Ca. 1550
Titian (Tiziano Vecellio)

Salome, an Edomite princess born of Herodias and the wife of Herod Philip I, carries the severed head of Saint John the Baptist on a tray, illustrating a Bible passage from Matthew (14:1–11) and Mark (6:22–28). Titian had already painted this story in 1516 (Galleria Doria Pamphilj, Rome), with a pyramidal composition that showed Salome bearing the saint’s head on a tray held chest high, and a serv

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

Series of the Conquest of Mexico
Oil, Shell work on canvas mounted on panel, panel. 1698
González, Juan; González, Miguel
Series of the Conquest of Mexico
Oil, Shell work on canvas mounted on panel, panel. 1698
González, Juan; González, Miguel

This panel inlaid with mother-of-pearl executed in New Spain is part of a group of twenty-four pieces that narrate the capture of Mexico.

Still Life with Grapes
Oil on canvas. 1771
Meléndez, Luis Egidio
Still Life with Grapes
Oil on canvas. 1771
Meléndez, Luis Egidio

Lazarus and Dives
Oil on canvas. Ca. 1570
Bassano, Leandro
Lazarus and Dives
Oil on canvas. Ca. 1570
Bassano, Leandro

The parable of Lazarus (Luke 16: 19-31) has been interpreted in many ways: an apology of charitable works; a comparison between salvation and perdition, and between gentiles (Lazarus) and Jews (Epulon, the rich man); and the dogs who lick Lazarus´s sores have even been held to be an allusion to the Dominican preachers and their miraculous cures. Aikema has provided examples of sermons and contempo

Triptych of the Adoration of the Magi
Grisaille, Oil on oak panel. Ca. 1494
Bosch, Hieronymus
Triptych of the Adoration of the Magi
Grisaille, Oil on oak panel. Ca. 1494
Bosch, Hieronymus

The theme of this triptych is the advent of salvation -a message about the universality of Redemption. The Eucharistic meaning inherent in the theme of Saint Gregory’s Mass is also found in The Adoration of the Magi in the wheat stored in the upper part of the hut, above the figure of the Antichrist. Unusually, Bosch includes in his depiction of the Mass of Saint Gregory in semi-grisaille seven Pa

Offering of Flowers
Oil on panel. 1898
Pinazo Camarlench, Ignacio
Offering of Flowers
Oil on panel. 1898
Pinazo Camarlench, Ignacio

A more than half-length image of a young woman in profile, holding up a basket or tray of flowers. This genre subject was very frequent in Pinazo, and here it is joined by the pictorial tradition of floral offereings, which have been common in modern painting since the Renaissance. The technique, however, corresponds to a much more modern concept of painting, with a loose and relaxed application o

Series of the Conquest of Mexico
Oil, Shell work on canvas mounted on panel, panel. 1698
González, Juan; González, Miguel
Series of the Conquest of Mexico
Oil, Shell work on canvas mounted on panel, panel. 1698
González, Juan; González, Miguel

This panel inlaid with mother-of-pearl executed in New Spain is part of a group of twenty-four pieces that narrate the capture of Mexico.

Family in a Garden
Oil on canvas. 1679
Kessel el Joven, Jan Van
Family in a Garden
Oil on canvas. 1679
Kessel el Joven, Jan Van

This scene of a family in a garden is a rare example of a group portrait in Spanish 17th-century art. Its uniqueness is explained by the fact that it was painted by a Flemish artist based in Madrid, who also included his self-portrait looking out of a window. Despite the appearance of everyday normality, the unknown sitters are surrounded by a wide range of symbols that refer to the virtues of fam

The Sense of Touch
Oil on panel. 1618
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
The Sense of Touch
Oil on panel. 1618
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

This set of paintings on the five senses (Sight, Hearing, Smell, Taste, Touch) was one of the most successful collaborations of Peter Paul Rubens and Jan Brueghel “the Elder”. Rubens placed his figures in the magnificent courtly scenes created by Brueghel as settings for these allegories of the senses, resulting in a series of enormous quality and esthetic appeal. The subject was widely employed i

Salome receiving the Baptist's head
Oil on panel. Early XVI century
Luini, Bernardino (Bernardino Scapi)
Salome receiving the Baptist's head
Oil on panel. Early XVI century
Luini, Bernardino (Bernardino Scapi)

Bernardino Luini depicted this passage from the New Testament (Mark 6:27–28) several times. The version in the Galleria degli Uffizi in Florence is the closest to the one in the Museo del Prado. They differ solely in the fact that the Uffizi version includes a female servant alongside Salome. Although the Bible states that the Baptist’s head was shown to Salome on a dish or tray, 15th-century Flem

The Adoration of the Magi
Oil on panel. 1490
Osona, Rodrigo de; Osona, Francisco de
The Adoration of the Magi
Oil on panel. 1490
Osona, Rodrigo de; Osona, Francisco de

The Virgin Mary sits beside Saint Joseph, holding the newborn Jesus in her lap, while king Melchior kisses the baby´s foot and Casper and Balthasar place their presents on a tray. The idyllic landscape and the architecture typical of northern European cities, as well as the composition, bluish-grey color scheme and hieratic figures clothed in robes with stiff folds, recall the Spanish-Flemish styl

Bacchanal
Oil on canvas. 1719
Houasse, Michel-Ange
Bacchanal
Oil on canvas. 1719
Houasse, Michel-Ange

Various personages, semi-nude or wearing tunics, dance, drink, eat grapes, play instruments and enjoy themselves in a garden around a bust of Bacchus. Various popular and classical buildings are visible in the background. This work shows all of the influences present in Houasse´s painting. The academicist tendency of the figures is mixed with hints of Poussin, Titian and Watteau. Moreover, some fa

Country Dance
Oil on canvas. XVIII century
Barbazza, Antonio Giuseppe
Country Dance
Oil on canvas. XVIII century
Barbazza, Antonio Giuseppe

Rest on The Flight into Egypt
Pencil on brown paper. XVIII century
Graziani, Ercole
Rest on The Flight into Egypt
Pencil on brown paper. XVIII century
Graziani, Ercole

Ante una palmera, la Virgen sentada de frente con el Niño coge unas frutas que le ofrece un ángel en una bandeja; al fondo San José.Es posible aceptar la atribución antigua del dibujo por su semejanza con los modelos de Graziani. (Texto extractado de Mena Marqués, M.B., Catálogo de dibujos. VII. Dibujos italianos del siglo XVIII y del siglo XIX, Museo del Prado, 1990, p. 89).

Saint Gregory Giving Alms
Pencil, Pencil ground on laid paper. Late XVII century
Anonymous
Saint Gregory Giving Alms
Pencil, Pencil ground on laid paper. Late XVII century
Anonymous

Saint Gregory is depicted at the top of a staircase against an architectural background. He wears a tiara and holds a patriarchal cross as he gives alms to a beggar and an angel who are kneeling at his feet and are holding out their hands to him. A pageboy holds a tray and the Holy Spirit flies towards the pontiff. A semi-circular border has been sketched in the drawing, as in preparation for an a

The Supper at Emmaus
Pencil, Grey-brown wash on yellow laid paper. XVII century
Orrente, Pedro de
The Supper at Emmaus
Pencil, Grey-brown wash on yellow laid paper. XVII century
Orrente, Pedro de

In the background to the left, on a slightly raised ceremonious platform, Christ and two disciples are seated at the table. Jesus breaks the bread, looking up, while a servant approaches him with a tray. In the foreground, a seated man and a standing woman are depicted. A cat and a dog are clearly visible. Numerous versions of this subject painted by Orrente are preserved (Museums of Budapest and

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