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The Family of Philip V
Oil on canvas. Ca. 1723
Ranc, Jean
The Family of Philip V
Oil on canvas. Ca. 1723
Ranc, Jean

This is an extremely spontaneous and lively preparatory study for a now lost, larger painting. Seated in an imaginary room in a palace are Philip V and his second wife Isabella Farnese. Around them are their sons, the future monarchs Louis I, Ferdinand VI and Charles III, and Philip, Duke of Parma. In an oval frame is the official portrait, sent from Paris, of María Ana Victoria, betrothed

Country Wedding
Oil on canvas. Ca. 1612
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
Country Wedding
Oil on canvas. Ca. 1612
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

A wedding procession moves towards the church in a rural setting. The male members of both families lead the procession, headed by the groom. The flower in his hand is clearly a symbol of matrimony. The bride remains among the women. Both wear black clothing and a broad ruff collar, in keeping with early seventeenth-century style. The artist draws on the work of his father, Pieter Brueghel “the El

Celebration of the Ommegang in Brussels: the procession of Our Lady of the Sablon
Oil on canvas. 1616
Alsloot, Denis Van
Celebration of the Ommegang in Brussels: the procession of Our Lady of the Sablon
Oil on canvas. 1616
Alsloot, Denis Van

In the Place du Grand Sablon in Brussels various groups of magistrates, confraternities, religious orders and leading citizens march with a statue of the Virgin and the reliquary of Saint Juliana of Nicomedia. The painting is part of a series commissioned from Van Alsloot by Albert of Austria and Isabel Clara Eugenia, governors of the Spanish Netherlands, to mark various festivities that took plac

View of the south Façade of the Museo del Prado from inside the Botanical Gardens
Oil on canvas. Ca. 1835
Avrial y Flores, José María
View of the south Façade of the Museo del Prado from inside the Botanical Gardens
Oil on canvas. Ca. 1835
Avrial y Flores, José María

Avrial trained with Fernando Brambilla in the Italian tradition of the classicising veduta. His urban views include clear, accurate descriptions of buildings and monuments rendered with a precise and meticulous line. In contrast, the picturesque figures and pronounced contrasts of light and shade bring his work close to Romanticism.

Saint Francis of Assisi in la Porziuncola
Oil on canvas. Ca. 1646
Castello, Félix (Attributed To)
Saint Francis of Assisi in la Porziuncola
Oil on canvas. Ca. 1646
Castello, Félix (Attributed To)

Angulo and Pérez Sánchez provisionally attributed this work in their study of painting from Madrid (1969), considering it a canvas from his final years—a period with no confirmed works by this artist. Its suggested provenience, the Franciscan convent of Cuéllar (Segovia), is based on the original inventory of paintings from disbanded convents in the province of Segovia, drawn

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