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The Resurrection
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
The Resurrection
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista

On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight months to make the paintings, which had to portray the scenes and episodes specified by the prior of the monastery. Despite the agreement reached in the contract, the paintings were not completed until De

Pietà
Oil on canvas. Ca. 1629
Dyck, Anthony Van
Pietà
Oil on canvas. Ca. 1629
Dyck, Anthony Van

The scene depicts one of the most dramatic moments of the Passion and Death of Christ, when the Virgin, accompanied by Mary Magdalene who kisses the Redeemer´s hand, and by Saint John who contemplates the scene, assumes her greatest significance in her role as mother during the moments immediately after the loss of her Son in the tragedy of Mount Calvary. Van Dyck succeeds in expressing this

Pietà
Pencil, Pencil ground, Red chalk, Grey-brown ink, White lead on blue paper, card. 1580 - 1586
Candid, Pieter
Pietà
Pencil, Pencil ground, Red chalk, Grey-brown ink, White lead on blue paper, card. 1580 - 1586
Candid, Pieter

This is without a doubt one of the finest drawings done in Italy during the sixteenth century from the Prado´s collection. Peter Candid, the artist responsible, was not however Italian by birth but Netherlandish. Nevertheless, the study was made early on in his Italian period, and for stylistic and formal reasons belongs in the context of Italian drawing. The drawing once belonged to P.-J. Mariett

Roman Emperor
White marble. Ca. 1550
Anonymous
Roman Emperor
White marble. Ca. 1550
Anonymous

Roman Emperor
White marble. Ca. 1550
Anonymous
Roman Emperor
White marble. Ca. 1550
Anonymous

Esta obra parte de prototipos análogos basados en efigies monetarias antiguas que representan a Nerón imberbe. Como en las numerosas monedas de este dignatario acuñadas a partir del 63 d. C. destaca el corte sinuoso y la robustez del cuello, los ondulados mechones pegados a la nuca en dirección hacia las orejas y los de las sienes abultados bajo la corona de laurel, con las puntas hacia abajo deli

Roman Emperor
White marble. Ca. 1550
Anonymous
Roman Emperor
White marble. Ca. 1550
Anonymous

Esta obra parte de prototipos análogos basados en efigies monetarias antiguas que representan a Nerón imberbe. Como en las numerosas monedas de este dignatario acuñadas a partir del 63 d. C. destaca el corte sinuoso y la robustez del cuello, los ondulados mechones pegados a la nuca en dirección hacia las orejas y los de las sienes abultados bajo la corona de laurel, con las puntas hacia abajo deli

Fernando of Tuscany on Horseback
Bronze. 1695
Piamontini, Giuseppe
Fernando of Tuscany on Horseback
Bronze. 1695
Piamontini, Giuseppe

A bronze equestrian statue with a white marble pedestal that probably represents Fernando, the Grand Duke of Tuscany. Dressed all´antica, he holds a baton in his right hand and the reins of his lively steed in his left. The rearing horse follows the prototype of Baroque equestrian portraits, transmitting an idea of power that was very customary in portraits from the Modern Era. This work was proba

Young Roman, formerly identified as Domitian
White marble. Ca. 100
Roman Sculptor
Young Roman, formerly identified as Domitian
White marble. Ca. 100
Roman Sculptor

The refined features of this distinguished young man recall those of the Emperor Nerva (96-98 AD) and his hairstyle reflects that of the previous Emperor, Domitian (81-96 AD). But this head also has some individualised features. One of a series of the Twelve Emperors given by Pius V to Philip II in 1568, it is likely that at that time this portrait was considered to depict Domitian.

Torso of a Youth
White marble. Ca. 150
Roman Sculptor
Torso of a Youth
White marble. Ca. 150
Roman Sculptor

This sculpture reproduces a Greek original of around 410 BC by a follower of Polyclitus. There are numerous copies of that work, known as the "Dresden Youth type" in reference to the best and most complete surviving example, now in the Albertinum in Dresden. From that work it is known that the young athlete was looking pensively at his left hand in which he held a now unknown object.

Portrait of a Young Man
White marble, Jasper. 1570 - 1600
Roman Sculptor
Portrait of a Young Man
White marble, Jasper. 1570 - 1600
Roman Sculptor

This is a modern copy of a Roman portrait of a young man from the period of the Emperor Commodus (180-192 AD). While the beard recalls portraits of Hadrian (such as E-176 in the Prado) and others from the Antonine period (E-113), the hairstyle suggests images of Alexander the Great. The subject may have been an officer in the Roman army.

Greek Youth
White marble. 200 - 217
Roman Sculptor
Greek Youth
White marble. 200 - 217
Roman Sculptor

The Greek word “neoni” inscribed on this portrait means “young”, but it could also be the name of this unknown sitter, Neon. With regard to his appearance, the hairstyle recalls that of Alexander the Great and the features those of Antinous. This head can be approximately dated to the period of the Emperor Caracalla, a great admirer of Alexander.

The Emperor Constantine the Great
White carrara marble. 312 - 325
Anonymous
The Emperor Constantine the Great
White carrara marble. 312 - 325
Anonymous

Numerous portraits of Constantine of this type were produced to mark his victory over Maxentius at the Battle of the Milvian Bridge in 312 A. D. Coins of the period depict him as invictus (unconquerable) with a nimbus in the manner of the Sun, considered at that time to be the centre of the universe, like the Emperor.

Fragments of a Roman sarcophagus with the Four Seasons
White marble. Ca. 250
Roman Sculptor
Fragments of a Roman sarcophagus with the Four Seasons
White marble. Ca. 250
Roman Sculptor

The cycle of the Four Seasons has a long tradition in figurative art. The personifications of the different periods of the year were accompanied by the element that identified them, all associated with the rural world. As part of a sarcophagus lid, this pair of reliefs makes clear reference to the passing of time.

Woman with a Flavian Hairstyle
White marble. 90 - 110
Roman Sculptor
Woman with a Flavian Hairstyle
White marble. 90 - 110
Roman Sculptor

Realism in the depiction of physical features is one of the characteristics of Roman portraiture. The hairstyle became a further identifying element, indicating the importance given to personal adornment and changes in fashion. Here the subject wears a false, curly hairpiece, a common practice among noblewomen of the period in emulation of the Emperor Titus’s daughter Julia Flavia (AD 64-91).

Medusa
White marble. 1770 - 1800
Anonymous
Medusa
White marble. 1770 - 1800
Anonymous

In Greek mythology Medusa was one of the three Gorgon sisters whose gaze turned their victims to stone. Perseus decapitated her and gave her head to Athena, who set it in her shield. This marble reproduces the work from the Rondanini collection (now in Munich) which was considered to be by the circle of Phidias, was praised by Goethe among others and became an iconic image in western culture.

Roman Matron
White marble. 85 - 120
Roman Sculptor
Roman Matron
White marble. 85 - 120
Roman Sculptor

Este retrato de una romana entrada en años y con una mirada que delata seguridad de sí misma impresiona aún hoy por su realismo bien dosificado. En tanto los rasgos faciales autenticos de la retratada, dan la impresión de haber sido reproducidos sin mayores modificaciones, las zonas de piel desnuda, en cambio, aparecen alisadas debido al pulimento de la superficie del marmol, de modo que la repres

Boar
White marble. Ca. 20
Anonymous; Roman Sculptor
Boar
White marble. Ca. 20
Anonymous; Roman Sculptor

Probablemente en el siglo XVII, un autor desconocido dividió mediante un corte longitudinal el torso de la estatua de un jabalí de tamaño natural en dos partes; luego, las completó y montó cada una de las dos mitades sobre un tablero liso de mármol de color. Aún hoy se percibe fácilmente que la cabeza del animal estaba levemente girada hacia la derecha. Originalmente el pesado cuerpo no descansaba

Roman Woman
White marble. 150 - 155
Roman Sculptor
Roman Woman
White marble. 150 - 155
Roman Sculptor

The portrait is of a mature, high-class lady with a serene and somewhat tired expression. Like many portraits of its era, it imitates the hairstyles adopted in the imperial household, in this case of Faustina the Elder (105-141 B. C.), wife of the emperor Antoninus Pius.

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