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A Lion and three Wolves
Oil on canvas. XVII century
Vos, Paul de
A Lion and three Wolves
Oil on canvas. XVII century
Vos, Paul de

As an animal painter Paul de Vos was a follower of his brother-in-law and collaborator Frans Snyders although with a more specialist focus on hunting scenes. Both supplied art lovers and collectors with grandiose, very dynamic and on occasions violent scenes of the type fashionable in the first half of the seventeenth century in the Southern Low Countries and throughout Europe.

Cats fighting in a Larder
Oil on canvas. 1630 - 1640
Vos, Paul de
Cats fighting in a Larder
Oil on canvas. 1630 - 1640
Vos, Paul de

With the owners or house servants away, the animals sneak into the larder, giving free rein to their instincts. This leads to a fight. Scenes of animal fights in domestic settings were customary in mid-seventeenth-century Flemish painting. They were also frequent in the literature of proverbs, where they were interpreted as moral allusions to the abandonment of responsibilities and their consequen

Fable of the dog and the prey
Oil on canvas. 1636 - 1638
Vos, Paul de
Fable of the dog and the prey
Oil on canvas. 1636 - 1638
Vos, Paul de

Satyr
Oil on canvas. 1636 - 1638
Rubens, Peter Paul (And Workshop)
Satyr
Oil on canvas. 1636 - 1638
Rubens, Peter Paul (And Workshop)

In classical mythology, Silenus was the guardian of forests. He was supposed to raise Bacchus when the latter was a child. Rubens depicts him in the customary manner: with goat ears and a scraggly beard, alluding to his condition as a wild being, and clothed only in buckskin. The mask on which he is leaning recalls his ties to the world of theater, as a Bacchic and festive deity. Rubens once again

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

Diogenes searching for a Man
Oil on canvas. 1645 - 1655
Castiglione, Giovanni Benedetto
Diogenes searching for a Man
Oil on canvas. 1645 - 1655
Castiglione, Giovanni Benedetto

An inquiring and original artist, as well as an extraordinary draughtsman, Giovanni Benedetto Castiglione travelled throughout much of Italy (besides his native Genoa, he worked in Rome, Mantua, Venice, and possibly Parma, Florence, Bologna and Modena) absorbing and appropriating a great variety of tendencies and languages, from the vigorous naturalism of painters living in Genoa, such as Sinibald

Landscape with Hermit preaching
Oil on canvas. 1639 - 1641
Swanevelt, Herman Van
Landscape with Hermit preaching
Oil on canvas. 1639 - 1641
Swanevelt, Herman Van

The painting entered the Museum as an original work by Herman van Swanevelt. This attribution is maintained in later catalogues and accepted by all authors. In early Museum catalogues the work is described as the companion piece to Landscape with Fisherman Family at Dusk (P2141).In the latest general inventory of paintings (1990) this work is listed as Landscape with Saint Paul preaching. However

Concert of Birds
Oil on canvas. 1661
Fyt, Jan
Concert of Birds
Oil on canvas. 1661
Fyt, Jan

Here Fyt returns to the subject of a concert of birds, a subject made fashionable by his master Frans Snyders. While the latter’s scenes of this type had a symbolic and moralising significance, in the second half of the seventeenth century they proliferated as decorative works. Fyt’s precise and delicate depiction of the animals’ textures is very appropriate for an ornamental purpose.

Apollo and the Serpent Python
Oil on panel. 1636 - 1637
Rubens, Peter Paul
Apollo and the Serpent Python
Oil on panel. 1636 - 1637
Rubens, Peter Paul

Apollo fights the terrible Python to free beautiful Andromeda, who was destined to be one of the victims of this monster. She is sketched in behind the beast. In the air, Cupid shoots his arrows into the God, alluding to the love arising between Apollo and Andromeda, as told by Ovid in his Metamorphoses. This sketch was made as part of the projected decoration of the Torre de la Parada and was use

A dog
Oil on canvas. 1636 - 1638
Vos, Paul de
A dog
Oil on canvas. 1636 - 1638
Vos, Paul de

Este es uno de los varios perros de caza pintados por Paul de Vos que habrían decorado la Torre de la Parada. Todos ellos aparecen en un paisaje abierto de similares características; falta de vegetación en el primer término donde aparecen rocas, en las cuales el artista aprovecha para firmar, árboles al fondo en diferentes planos y un gran desarrollo del cielo. El tratamiento del paisaje guarda ci

Orpheus and the Animals
Oil on canvas. 1636 - 1638
Thulden, Theodoor Van; Snyders, Frans
Orpheus and the Animals
Oil on canvas. 1636 - 1638
Thulden, Theodoor Van; Snyders, Frans

This scene is inspired by a passage from the Metamorphoses by the Roman poet Ovid. Orpheus, the mythological Greek musician and poet, sung and played the lyre so sublimely that all the animals, even the fiercest, came up close to listen to him. In another episode from Orpheus’s life he made use of music to try to rescue his wife Eurydice from the Underworld. From Antiquity to the present day that

A Bull torn apart by Dogs
Oil on canvas. 1636 - 1638
Vos, Paul de
A Bull torn apart by Dogs
Oil on canvas. 1636 - 1638
Vos, Paul de

As an animal painter Paul de Vos was a follower of his brother-in-law and collaborator Frans Snyders although with a more specialist focus on hunting scenes. Both supplied art lovers and collectors with grandiose, very dynamic and on occasions violent scenes of the type fashionable in the first half of the seventeenth century in the Southern Low Countries and throughout Europe.

Concert of Birds
Oil on canvas. 1629 - 1630
Snyders, Frans
Concert of Birds
Oil on canvas. 1629 - 1630
Snyders, Frans

In the composition, an owl on a branch directs a chorus of fifteen other types of birds while holding a score between its feet. Such images of different species of birds perched on tree trunks, sometimes with musical scores, were known as Concerts of birds and were popularized by Flemish artists in the early decades of the 17th century, especially Frans Snyders. They were quite common at that time

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