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Woman with a Dove
Oil on canvas. 1610 - 1620
Cecco del Caravaggio (Francesco Buoneri)
Woman with a Dove
Oil on canvas. 1610 - 1620
Cecco del Caravaggio (Francesco Buoneri)

This painting displays the same stylistic characteristics as works by an anonymous painter who worked in Rome in Caravaggio’s circle and whose activity is documented between 1610 and 1620. Woman with a Dove forms a pair with Man with a Rabbit (Madrid, Palacio Real) by the same artist.

Saint Francis Preaching to the Birds
Oil on canvas. Ca. 1646
Carreño de Miranda, Juan
Saint Francis Preaching to the Birds
Oil on canvas. Ca. 1646
Carreño de Miranda, Juan

In 1724, Antonio Palomino, who had been Juan Carreño de Miranda’s disciple, included his teacher’s biography in his Parnaso español pintoresco y laureado. Their close relationship makes that text a highly informative source of first-hand information. Palomino wrote: Two other works by his hand (though early) are the paintings on the facing side walls of the church of El Caballero de

The Annunciation, Saint Jerome and Saint John the Baptist
Oil on panel. XVI century
Maestro de la Santa Sangre
The Annunciation, Saint Jerome and Saint John the Baptist
Oil on panel. XVI century
Maestro de la Santa Sangre

Concert of the Birds
Oil on canvas. XVII century
Snyders, Frans
Concert of the Birds
Oil on canvas. XVII century
Snyders, Frans

In this composition, various species of birds perched on the branches of a tree -a stork, an eagle, a red macaw, etc.- sing around a musical score. As in many of Frans Snyders’ compositions, the largest birds on the ends protect the smaller ones. According to Sánchez Cantón, this work comes from the collection of the Count-Duke of Olivares’ cousin, don Diego de Mejía y Fel&iac

Abundance
Oil on copperplate. Ca. 1625
Brueghel el Joven, Jan
Abundance
Oil on copperplate. Ca. 1625
Brueghel el Joven, Jan

This type of allegorical representations of abundance or fecundity was very popular among cabinet paintings from this period. Artists such as Rubens, Jan Brueghel the Elder, Hendrick de Clerck and Hendrick van Balen, among others, also made such works, often in collaboration. Here, fertility is represented by a six-breasted figure at the center of the composition. She bears a horn of plenty and is

Magpie in a Tree
Oil on canvas. 1786
Goya y Lucientes, Francisco de
Magpie in a Tree
Oil on canvas. 1786
Goya y Lucientes, Francisco de

This cartoon was for one of the tapestries to be hung in the Prince of Asturias´ dining room at the El Pardo Palace. Its narrow, elongated format indicates it was intended to be hung in a corner. It is probably inspired by a Chinese screen, which were very fashionable in the eighteenth century. The screen´s representation of exotic birds on tree branches is replaced here by a magpie an

Market and Washing Place in Flanders
Oil on canvas. Ca. 1620
Brueghel The Elder, Jan (Jan 'velvet' Brueghel); Momper II, Joost de
Market and Washing Place in Flanders
Oil on canvas. Ca. 1620
Brueghel The Elder, Jan (Jan 'velvet' Brueghel); Momper II, Joost de

This excellent example of the collaboration between Brueghel and Momper depicts simple rural life in Flanders, joining the genre of landscape painting with that of everyday life. The groups of figures were made by Brueghel, while Momper painted the landscape, with his characteric violet tonalities in the background. Here, Momper abandons his broad panoramas in favor of a more realistic perspective

The Animals entering Noah’s Ark
Oil on canvas. Ca. 1570
Bassano, Jacopo (Jacopo Dal Ponte)
The Animals entering Noah’s Ark
Oil on canvas. Ca. 1570
Bassano, Jacopo (Jacopo Dal Ponte)

This painting is Jacopo´s first depiction of the passage from Genesis 6:20 and the only one in which the theme is treated separately rather than as part of a series depicting the story of Noah. Jacopo respected the biblical tale in terms of the number of people who were saved -Noah, his wife, and his three sons Shem, Ham and Japheth, with their wives- but took liberties with the animals. In some c

Kite with a Group of dead Birds
Oil on canvas. 1774
Castillo, José del
Kite with a Group of dead Birds
Oil on canvas. 1774
Castillo, José del

This realistic depiction of a kite that has swooped down on a group of dead woodcocks and a pheasant is striking for the contrast between the bird of prey’s ferocity and the tranquil still-life with game birds set in a flat background landscape. This effect of surprise, typical of a capriccio, was popular at this period.

Saint Francis Preaching to the Birds
Oil on canvas. 1788 - 1789
Carnicero, Antonio
Saint Francis Preaching to the Birds
Oil on canvas. 1788 - 1789
Carnicero, Antonio

Saint Francis´s sermon to the birds is one of the most popular episodes from his life. In his biography of that saint (chapter XXI, 58), Celano narrates the event that occurred near Menavia in the Espoleto Valley, when Saint Francis addressed the birds, praising them for their divine goodness in relation to their existence.

Landscape with Sea and Mountains
Oil on canvas. Ca. 1623
Momper II, Joost de
Landscape with Sea and Mountains
Oil on canvas. Ca. 1623
Momper II, Joost de

Momper was one of the finest Flemish landscape painters of the first decades of the seventeenth century. He built his works on very concrete models that he repeated in many paintings. One of them was a large-format landscape with figures in the foreground carrying out an anecdotic or everyday activity. Here the figures are hunters, along with riders and beggars. Toward the background, as was custo

God reprimanding Adam
Oil on canvas. Ca. 1570
Bassano, Jacopo (Jacopo Dal Ponte); Bassano, Francesco
God reprimanding Adam
Oil on canvas. Ca. 1570
Bassano, Jacopo (Jacopo Dal Ponte); Bassano, Francesco

It is surprising that such a significant passage was seldom represented pictorially, whereas there are many examples of the moment immediately after the expulsion from Paradise. Neither was it a frequent theme of the Bassano bottega, despite lending itself well to a display of masterful representation of animals. In fact, this is the only known version. Jacopo convincingly depicted the moment God

The Flood
Oil on panel. Ca. 1530
Scorel, Jan Van
The Flood
Oil on panel. Ca. 1530
Scorel, Jan Van

The teacher of Anthonis Mor, Van Scorel introduced Roman Mannerism into the Low Countries. This scene combines figures derived from Michelangelo with a nocturnal landscape characteristic of the northern tradition. In the brightly lit foreground, a large crowd flees the unstoppable advance of the water. People and animals create a semicircle framing the background landscape, which is plunged into d

Landscape with Wagons
Oil on panel. 1603
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
Landscape with Wagons
Oil on panel. 1603
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

Highwaymen seem to have stopped a wagon with travelers in the midst of a barren landscape. More wagons and travelers on foot appear along the trail in the background. This work is difficult to interpret. It may just as well represent a violent assault as a simple everyday scene in a landscape. At any rate, it shows how Brueghel composed this sort of scene on the basis of various planes that reach

The Temptations of Saint Anthony
Oil on oak panel. 1550 - 1560
Bosch, Hieronymus (Follower Of)
The Temptations of Saint Anthony
Oil on oak panel. 1550 - 1560
Bosch, Hieronymus (Follower Of)

Apoyado sobre una roca con un libro entre las manos, el santo vuelve la cabeza hacia el espectador. En la mitad inferior se han representado extrañas y monstruosas figuras, mientras que en el ángulo derecho, aparece una figura humana semidesnuda. En la parte superior se vuelven a repetir los monstruos que acosan al santo, pero de tamaño más reducido, y a la derecha encontramos dos desnudos femenin

Spring
Oil on canvas. Second half of the XVI century
Bassano (Workshop Of)
Spring
Oil on canvas. Second half of the XVI century
Bassano (Workshop Of)

The Seasons are the second of the three types of four canvas sets produced by the Bassano bottega in the 1570s. Like the Noah and Elements series, they were extraordinarily successful and many replicas were made. Between 1580 and 1600 the inventories of the Venetian court of Giudici di petizioni cite five series of the Seasons and a further 35 of paesi e animali, and, although there is no mention

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