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Herod’s Feast (sketch)
Oil on canvas. XVII century
Carreño de Miranda, Juan
Herod’s Feast (sketch)
Oil on canvas. XVII century
Carreño de Miranda, Juan

Herod and Herodias appear at the right of the composition. Sitting at a table painted in foreshortened perspective, they look on—the king with a stupefied expression—as Salome presents them with the payment for her dance: John the Baptist’s head on a platter(Mark, 6 21-29). The skillfully lit architectural background clearly recalls Venice. The other figures in the scene are standing, which contri

Christ washing the Disciples’ Feet
Fresco painting on mural transferred to canvas. 1200 - 1215
Master Of San Esteve Of Andorra
Christ washing the Disciples’ Feet
Fresco painting on mural transferred to canvas. 1200 - 1215
Master Of San Esteve Of Andorra

In the Upper Room, represented here by architectural elements that support a curtained arch, Christ prepares to wash the feet of Peter, who duly raises his leg in order to put his foot into a bowl. On the left, an Apostle holds the cloth for Christ to dry him. This mural fragment comes from the apse of the church of Sant Esteve (Andorra la Vella).

Penitent Magdalen
Oil on canvas. 1583
Veronese, Paolo (Paolo Cagliari)
Penitent Magdalen
Oil on canvas. 1583
Veronese, Paolo (Paolo Cagliari)

Paolo Veronese`s Penitent Magdalene, 1583, reflects the change occurring in Venetian religious painting around 1580. On one hand, the new order of priorities imposed by the Council of Trent (1545-63) emphasised subjects such as the Eucharist, penitence and the martyrdom of the saints. On the other, the Inquisition began to zealously protect decorum in the treatment of sacred subjects. Veronese had

Prince Baltasar Carlos on Horseback
Oil on canvas. 1634 - 1635
Velázquez, Diego Rodríguez de Silva y
Prince Baltasar Carlos on Horseback
Oil on canvas. 1634 - 1635
Velázquez, Diego Rodríguez de Silva y

In 1624, soon after Velázquez`s arrival at court, the political writer Almansa noted that the equestrian order was and is the backbone of republics. This notion was shared by the Spanish monarchy and lies at the origins of the enormous prestige which the equestrian portrait achieved at court. As a court portraitist, this sub-genre of portraiture is frequently to be encountered within Vel&aa

Judith offering the Head of Holofernes
Oil on panel. 1636
Bray, Salomon de
Judith offering the Head of Holofernes
Oil on panel. 1636
Bray, Salomon de

This painting entered the Prado as an original by Philips de Koninck (1619-1688), though in the 1873 catalogue it is attributed to Salomon Koninck (1609-1656). Adecade later, in the 1885 edition, Bredius ascribes it to Pieter Fransz. de Grebber (1595/1605-1652/53), an attribution that is accepted by the Prado, albeit with reservations, as of the 1933 catalogue, where the previous title, Portraits

Aeneas becomes a God
Oil on canvas. Ca. 1820
Blondel, Merry-Joseph
Aeneas becomes a God
Oil on canvas. Ca. 1820
Blondel, Merry-Joseph

According to the fourteenth book of Ovid’s Metamorphoses, after ordering the river Numicius to wash away all the mortal aspect of Aeneas, Venus anointed him with a divine perfume and touched his mouth with a mixture of ambrosia and nectar, thus transforming him into a god (Miguel Ángel Hernanz Santos, information provided to the Museum in March 2021)Blondel, who specialised in decorative sc

Saint Stephen / The Imposition of the Chasuble on Saint Ildephonsus
Oil on panel. 1559
Correa de Vivar, Juan
Saint Stephen / The Imposition of the Chasuble on Saint Ildephonsus
Oil on panel. 1559
Correa de Vivar, Juan

The Museo del Prado’s collections include an important group of paintings by Juan de Correa de Vivar, an artist based in Toledo who must have been born at the beginning of the 16th century in the town of Mascaraque and died in the Imperial City in 1566. In total, these are nearly forty works from the former Museo Nacional de la Trinidad. Like many other 16th-century Spanish religious painters, Cor

Saint Lawrence / Saint Hilary
Oil on panel. 1559
Correa de Vivar, Juan
Saint Lawrence / Saint Hilary
Oil on panel. 1559
Correa de Vivar, Juan

The Museo del Prado’s collections include an important group of paintings by Juan de Correa de Vivar, an artist based in Toledo who must have been born at the beginning of the 16th century in the town of Mascaraque and died in the Imperial City in 1566. In total, these are nearly forty works from the former Museo Nacional de la Trinidad. Like many other 16th-century Spanish religious painters, Cor

The Mona Lisa
Oil on walnut panel. 1507 - 1516
Leonardo Da Vinci (Workshop Of)
The Mona Lisa
Oil on walnut panel. 1507 - 1516
Leonardo Da Vinci (Workshop Of)

This version of the Mona Lisa (Louvre) was painted by one of Leonardo’s pupils. The fact that each pentimento, or change, in Leonardo’s original (to the bust, outline of the veil and position of the fingers) is repeated here suggests that the two works were created simultaneously. There are also differences with respect to the original, in the unfinished landscape and on the face. Overall, the pan

Altarpiece of the Annunciation
Oil on panel. 1559
Correa de Vivar, Juan
Altarpiece of the Annunciation
Oil on panel. 1559
Correa de Vivar, Juan

The Museo del Prado’s collections include an important group of paintings by Juan de Correa de Vivar, an artist based in Toledo who must have been born at the beginning of the 16th century in the town of Mascaraque and died in the Imperial City in 1566. In total, these are nearly forty works from the former Museo Nacional de la Trinidad. Like many other 16th-century Spanish religious painters, Cor

The Banquet of Herod
Pencil, Pencil ground, Grey-brown ink, Wash on paper. Early Finales del siglo XVI - XVII century
Maganza, Alessandro
The Banquet of Herod
Pencil, Pencil ground, Grey-brown ink, Wash on paper. Early Finales del siglo XVI - XVII century
Maganza, Alessandro

Maganza´s work belongs to the mainstream of painting in the Veneto during the last years of the sixteenth century and the first decades of the seventeenth. His drawings, especially, reveal the influence of both Antonio Zelotti (1526-1578) and, more importantly, Hans Rottenhammer (1564/65-1625), the German-born painter who established a studio in Venice shortly before 1600, where he resided f

A dignitary kneeling before a Pope, receiving a chain of office and other rewards [The Painter, Architect and Writer Giorgio Vasari being Honored by Pope Pius V (?)]
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. 1570 - 1579
Zuccaro, Federico
A dignitary kneeling before a Pope, receiving a chain of office and other rewards [The Painter, Architect and Writer Giorgio Vasari being Honored by Pope Pius V (?)]
Pencil, Pencil ground, Grey-brown ink, Wash on yellow paper. 1570 - 1579
Zuccaro, Federico

Gabriele Finaldi was the first to point out that the seated pope seems to be Pius V (Ghislieri), the Dominican, pro-Spanish pontiff who reigned from 1566 to 1572. As Cardinal Ghislieri, he held the office of grand inquisitor under the two previous pontiffs, Paul IV and Pius IV. Comparison of the visage and physique of the pope in the drawing with those in the many surviving portraits of Pius V sho

Apollo Shooting Arrows at the Children of Niobe
Pencil, Grey ink, Wash on blue paper. XVIII century
Anonymous
Apollo Shooting Arrows at the Children of Niobe
Pencil, Grey ink, Wash on blue paper. XVIII century
Anonymous

As J.A. Gere pointed out in 1981 (pencil note on the modern museum mount), the composition is taken from Polidoro´s facade decoration of the Palazzo Milesi, Rome. Judging from the style, the copyist was eighteenth century, which might imply he used an engraving or another drawing after Polidoro as his model, rather than the painted facade itself.

Two figures lifting an Urn; and male head
Black chalk, White lead, Wash on paper. Second half of the XVI century
Anonymous
Two figures lifting an Urn; and male head
Black chalk, White lead, Wash on paper. Second half of the XVI century
Anonymous

The group appears between a pair of columns on the right of Taddeo´s fresco of the "Last Supper" in the church of S. Maria della Consolazione, Rome.

The Surrender of Jülich
Pencil, Pencil ground, Grey-brown wash on yellow paper. 1634
Leonardo, Jusepe
The Surrender of Jülich
Pencil, Pencil ground, Grey-brown wash on yellow paper. 1634
Leonardo, Jusepe

Preparatorio para el grupo principal del lienzo pintado en 1634 para el Salón de Reinos del Buen Retiro, hoy en el Museo del Prado (P00858). Los dos generales a caballo son Ambrosio Spínola y Felipe Messia de Guzmán, marqués de Leganés. La presencia del primero ha hecho que en alguna ocasión se interpretase lienzo y dibujo como representación de la Rendición de Breda, por aquel general. (Texto ext

Studies for a section of architectural decoration [Galleria Farnese(¿?)]
Pencil, Grey-brown ink, Wash on dark yellow paper. 1597 - 1601
Carracci, Annibale
Studies for a section of architectural decoration [Galleria Farnese(¿?)]
Pencil, Grey-brown ink, Wash on dark yellow paper. 1597 - 1601
Carracci, Annibale

Annibale Carracci established the early Baroque style in Italy with Caravaggio (1571-1610). Annibale`s naturalistic style was based on the Antique and on Raphael, and unlike Caravaggio`s sombre realism, continued the representational tradition of the Italian Renaissance. Annibale`s style evolved in Bologna, where he worked together with his brother Agostino (1557-1602) and their cousin Ludovico. I

Theatre set
Pencil, Grey wash on dark yellow paper. Early XVIII century
Galli Da Bibiena, Francesco
Theatre set
Pencil, Grey wash on dark yellow paper. Early XVIII century
Galli Da Bibiena, Francesco

The son of painter Giovanni Maria Galli da Bibiena and brother of Ferdinando Galli da Bibiena, Francesco was raised in a family of artists and took an early interest in architecture and set design. He worked in various Italian cities before being appointed architect to the court of Mantua and moving to Vienna, where he took charge of the construction of the new opera theatre. Later trips took him

Saint Paul
Grey wash, Pencil strokes on dark yellow paper. XVIII century
Fontebasso, Francesco
Saint Paul
Grey wash, Pencil strokes on dark yellow paper. XVIII century
Fontebasso, Francesco

San Pablo, de medio cuerpo y de espaldas, vuelve su cabeza hacia el espectador. Sostiene en sus manos la espada y el libro. Éste (D01374) junto a otros tres dibujos, (D01371, D01372 y D01373) son cuatro esplendidos estudios anónimos para una figura de San Pablo, característicos del estilo maduro de Fontebasso. No se relacionan con ninguna de las composiciones conocidas del artista.Francesco Fonteb

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