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The Sense of Hearing
Oil on panel. 1617 - 1618
Rubens, Peter Paul; Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
The Sense of Hearing
Oil on panel. 1617 - 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

The Spinners, or the Fable of Arachne
Oil on canvas. 1655 - 1660
Velázquez, Diego Rodríguez de Silva y
The Spinners, or the Fable of Arachne
Oil on canvas. 1655 - 1660
Velázquez, Diego Rodríguez de Silva y

This painting is the result of two acts carried out in different periods. First, Velázquez painted the surface occupied by the figures and the tapestry in the background. Later, in the 18th century, a wide strip (with the arch and oculus) was added to the top, along with narrower ones on the left, right and bottom (these additions are not visible in the current presentation of this work). T

The Viol Player
Oil on panel. Ca. 1540
Anonymous
The Viol Player
Oil on panel. Ca. 1540
Anonymous

In this half-length portrait, the young man wears a red cap and holds a musical instrument that combine features of both the vihuela and the violin. While only partially visible, its fretted neck suggests it belongs to the family of the bowed vihuela or viola da gamba, but its bow and part of the pegbox are closer in appearance to those of the violin family, suggesting it is a hybrid of both. Thes

Majo with a Guitar
Oil on canvas. 1779
Goya y Lucientes, Francisco de
Majo with a Guitar
Oil on canvas. 1779
Goya y Lucientes, Francisco de

This is a cartoon for a tapestry to be hung over a window, with the figure of a Majo playing the guitar and a background of landscape with three other people. The resulting tapestry was intended for the entry to the bedroom of the Prince and Princess of Asturias (the future Carlos IV and his wife, Maria Luisa de Parma) at the El Pardo Palace in Madrid. Goya's activity as a painter of tapestry cart

The Coronation of the Virgin
Mixed method on panel. Ca. 1490
Maestro de las Once Mil Vírgenes
The Coronation of the Virgin
Mixed method on panel. Ca. 1490
Maestro de las Once Mil Vírgenes

The Triumph of Death
Oil on panel. 1562 - 1563
Bruegel The Elder, Pieter
The Triumph of Death
Oil on panel. 1562 - 1563
Bruegel The Elder, Pieter

In this moral work, the triumph of Death over mundane things is symbolized by a large army of skeletons razing the Earth. The background is a barren landscape in which scenes of destruction are still taking place. In the foreground, Death leads his armies from his reddish horse, destroying the world of the living. The latter are led to an enormous coffin with no hope for salvation. All of the soci

Saint Anthony of Padua
Oil on canvas. XVII century
Obregón el Joven, Pedro de (Attributed To)
Saint Anthony of Padua
Oil on canvas. XVII century
Obregón el Joven, Pedro de (Attributed To)

El santo aparece rodeado por ángeles músicos con diferentes instrumentos musicales representados con gran detalle, entre ellos un violón, un arpa diatónica, una guitarra y parte de un órgano realejo o portativo. Este tipo de órganos pequeños, portátiles, eran llamados realejos en España y fueron de uso común en los conjuntos instrumentales del Renacimiento y Barroco, en especial para el acompañami

The Nativity
Oil on panel. 1533 - 1535
Correa de Vivar, Juan
The Nativity
Oil on panel. 1533 - 1535
Correa de Vivar, Juan

This panel is part of the altarpiece or altar of repose from the Guisando Nativity (P00683-P00690), a common structure in numerous Spanish monastic cloisters. This one comes from the Hieronymite monastery in Guisando (Avila), where it was mentioned by Ponz in 1773. There, the altarpiece was set into a wall, forming a sort of box whose doors bore The Visitation, with Saint Jerome, Penitent and The

Harmony (The Three Graces?)
Oil on panel. 1541 - 1544
Baldung Grien, Hans
Harmony (The Three Graces?)
Oil on panel. 1541 - 1544
Baldung Grien, Hans

The convincingly modelled figures seem like the fantastical inhabitants of a ghostly forest illuminated by the light of the full moon. One reads a book next to a laurel tree while her companions look meaningfully to the right. Accompanying them are three putti, one with a musical score and swan, a bird associated with music since Antiquity. The stringed instruments represent harmony with nature wh

The Spinners, or the Fable of Arachne
Taille douce: etching and engraving on laid paper. 1796
Muntaner y Moner, Francisco; Esteve, Agustín; Imprenta Real
The Spinners, or the Fable of Arachne
Taille douce: etching and engraving on laid paper. 1796
Muntaner y Moner, Francisco; Esteve, Agustín; Imprenta Real

This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints

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