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Rustic Concert
Oil on panel. 1638
Ostade, Adriaen Van
Rustic Concert
Oil on panel. 1638
Ostade, Adriaen Van

This work belongs to the so-called peasant interiors, one of the new genres of painting that emerged and developed in Flanders and Holland in the early seventeenth century. In Houbraken and in early inventories they are described as een boertje, (a little peasant), or as toeback rookerchen, (tobacco smokers). The consolidation and appreciation of this genre was fostered by the satirical and morali

Saint Cecilia
Oil on canvas. After 1611
Grammatica, Antiveduto Della
Saint Cecilia
Oil on canvas. After 1611
Grammatica, Antiveduto Della

The Roman saint Cecilia was martyred for her faith. As the patron saint of music she is normally depicted playing an instrument, crowned with flowers and accompanied by the angel who defended her purity. The pronounced contrasts of light in this scene reveal the influence of Caravaggio that was evident in Grammatica’s work from 1605 onwards.

Penitents in the Lower Basilica of Assisi
Oil on canvas mounted on panel. 1874
Jiménez Aranda, José
Penitents in the Lower Basilica of Assisi
Oil on canvas mounted on panel. 1874
Jiménez Aranda, José

Jiménez Aranda sets this scene of believers paying penance inside the well-known medieval basilica of Assisi, in Italy. Some of them carry large crosses and drag chains, while others pray at an altar, or chat with other characters dressed in eighteenth-century clothing. The subject clearly alludes to Goya´s abundant paintings of religious festivities. Nevertheless, the setting in an Italian

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

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

The Violinist Ettore Pinelli
Oil on canvas. 1869
Rosales Gallinas, Eduardo
The Violinist Ettore Pinelli
Oil on canvas. 1869
Rosales Gallinas, Eduardo

A portrait of the composer and performer, Héctor Pinelli, a violinist and conductor from a family of music lovers. He appears in elongated profile, turned to the left. In his hands, he holds the violin and bow that brought him such fame. The strong light directed at the model´s face recalls how light was used in seventeenth-century portraits, and that is what brings out the pale tones of hi

The Annunciation
Oil on panel. XVI century
Anonymous
The Annunciation
Oil on panel. XVI century
Anonymous

Rustic Concert with Pipe and Violin
Oil on panel. 1635 - 1637
Ostade, Adriaen Van
Rustic Concert with Pipe and Violin
Oil on panel. 1635 - 1637
Ostade, Adriaen Van

This work belongs to the so-called peasant interiors, one of the new genres of painting that emerged and developed in the Netherlandsin the early seventeenth century. In Houbraken and in early inventories they are described as een boertje, (a little peasant) or as toeback rookerchen (tobacco smokers). The consolidation and appreciation of this genre was fostered by the satirical and moralising lit

Taste, Hearing and Touch
Oil on unlined canvas. Ca. 1620
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)
Taste, Hearing and Touch
Oil on unlined canvas. Ca. 1620
Brueghel The Elder, Jan (Jan 'velvet' Brueghel)

The dinner guests occupying the center of the composition symbolize the senses. Music and the singing children are hearing, and the young woman petting a mink is touch. The young woman preparing to eat some oysters symbolizes taste, while the monkey pulling on a cupid´s hair also symbolizes touch. Of equal significance are the animals and paintings in the room. The Annunciation on the top of the c

Tomás de Iriarte
Oil on canvas. Ca. 1785
Inza, Joaquín
Tomás de Iriarte
Oil on canvas. Ca. 1785
Inza, Joaquín

An in-depth study of Joaquín Inza is yet to be conducted that would allow us to gauge his role and importance in the panorama of Spanish art in the second half of the eighteenth century. Inza is known for his portraits of the royal family and of aristocrats and intellectuals from the period, and is now regarded as an estimable and discrete painter with a precise, austere style, although som

The Assumption of the Virgin
Oil on canvas. 1668
Alfaro y Gómez, Juan
The Assumption of the Virgin
Oil on canvas. 1668
Alfaro y Gómez, Juan

Various Angels playing instruments surround the Virgin, including one at the right with a lute whose instrument and technique are very believably represented. At his side, two other musician angels play a violin and a diatonic harp. All around them, a chorus of angels sings from sheet music.This canvas exemplifies the work of Juan de Alfaro, an artist relatively unknown in comparison to other pain

The Immaculate Conception
Oil on canvas. 1906
Pulido Fernández, Ramón
The Immaculate Conception
Oil on canvas. 1906
Pulido Fernández, Ramón

Marriage Contract and Country Dance
Oil on canvas. Ca. 1711
Watteau, Jean-Antoine
Marriage Contract and Country Dance
Oil on canvas. Ca. 1711
Watteau, Jean-Antoine

Known as a painter of “fêtes galantes”, Watteau combines a depiction of a marriage ceremony with a cheerful country dance. His composition recalls numerous scenes in Flemish painting, as does the natural setting.

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

Penitent Magdalen
Oil on canvas. XVII century
Murillo, Bartolomé Esteban (Copy)
Penitent Magdalen
Oil on canvas. XVII century
Murillo, Bartolomé Esteban (Copy)

The Assumption and Coronation of the Virgin
Oil on panel. 1602 - 1603
Reni, Guido
The Assumption and Coronation of the Virgin
Oil on panel. 1602 - 1603
Reni, Guido

En el centro, la Virgen coronada por dos angelitos, rodeada por la corte celestial. Abajo, ángeles músicos en las esquinas. El tema, para el cual se conocen algunos dibujos, fue muy trabajado por Guido en sus primeros años, con una cierta influencia de Aníbal Carracci en las formas torneadas de sus ángeles y en una monumentalidad grandiosa, que no es habitual en sus composiciones. Se conocen tres

The Sciences and the Arts
Oil on panel. Ca. 1650
Stalbent, Adriaen Van
The Sciences and the Arts
Oil on panel. Ca. 1650
Stalbent, Adriaen Van

A group of scholars discuss various questions in a room. Some are sitting around tables while others contemplate some of the many paintings and art objects scattered around the room. Depictions of dilettantes or aficionados in collectors´ galleries or rooms ornamented with art objects constituted a customary genre among seventeenth-century Flemish painters, glorifying the practice of collecting as

Portrait of a Gentleman
Oil on canvas. Ca. 1870
Ferrant, Alejandro
Portrait of a Gentleman
Oil on canvas. Ca. 1870
Ferrant, Alejandro

Holding his spectacles in his right hand, the subject of this portrait gazes at the viewer. He has momentarily left the composition he is working on, which is dated 1844 and is partially legible. It is precisely this element that enabled the subject to be identified as Urbano Aspa (C. Díaz Pascual 2015), a composer of religious music who was also a close friend of the painter’s family. In t

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