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The Andrians
Oil on canvas. 1523 - 1526
Titian (Tiziano Vecellio)
The Andrians
Oil on canvas. 1523 - 1526
Titian (Tiziano Vecellio)

Having delivered the Bacchus and Ariadne in 1523 Titian then painted The Andrians, also inspired by Philostratus (Imagines I, 25). The scene is set on the island of Andros, a place so favoured by Bacchus that a stream flows with wine. Gods, men and children unite in the celebration of the effects of wine, whose consumption, in Philostratus´ words, makes men rich, dominant, generous to their friend

Bacchanal
Oil on canvas. 1719
Houasse, Michel-Ange
Bacchanal
Oil on canvas. 1719
Houasse, Michel-Ange

Various personages, semi-nude or wearing tunics, dance, drink, eat grapes, play instruments and enjoy themselves in a garden around a bust of Bacchus. Various popular and classical buildings are visible in the background. This work shows all of the influences present in Houasse´s painting. The academicist tendency of the figures is mixed with hints of Poussin, Titian and Watteau. Moreover, some fa

Bacchanal
Oil on canvas. 1625 - 1626
Poussin, Nicolas
Bacchanal
Oil on canvas. 1625 - 1626
Poussin, Nicolas

This is a traditional scene from the iconography of Bacchus, the Roman god of wine. It depicts his meeting with Ariadne on the island of Naxos. The god rides a chariot pulled by lions, and helps his future wife, who was abandoned by Theseus, to climb aboard (Ovid, Metamorphoses, VIII). They are accompanied by Bacchus´s habitual retinue of bacchants, satyrs and menads, ledy by Silenus on a donkey.

Nymphs and Satyrs
Oil on canvas. Ca. 1615
Rubens, Peter Paul
Nymphs and Satyrs
Oil on canvas. Ca. 1615
Rubens, Peter Paul

In this picture, the setting epitomises the classical concept of a Locus amoenus ("pleasant place") which developed from the time of Homer and referred to an ideal place for sensual being, with flowing water that impregnates the land and shade provided by trees. Socrates describes such a place in Plato’s dialogue Phaedrus. Rubens’s Locus amoenus is recreated with such conviction that it makes me t

The Garden of Love
Oil on canvas. 1630 - 1635
Rubens, Peter Paul
The Garden of Love
Oil on canvas. 1630 - 1635
Rubens, Peter Paul

We are confronted here with one of Rubens’s greatest gifts as a painter: his ability to create images of a joyful way of being in the world related to love and inspired by ancient literature and Renaissance art. In the case of the latter, this means primarily Titian. This painting is especially close in mood to the Bacchanal of the Andrians and the Worship of Venus. Many features of this scene cal

Dance of Mythological Figures and Villagers
Oil on panel. 1630 - 1635
Rubens, Peter Paul
Dance of Mythological Figures and Villagers
Oil on panel. 1630 - 1635
Rubens, Peter Paul

A group of figures dance to the tune of a flute played by a man perched on an oak tree, and to the bells that some dancers have attached to their lower legs. The scene evokes the dances that are part of Ancient Greek history and myths and the tradition that followed - the book Hypnerotomachia Poliphili includes a description and a woodcut of a similar dance. The painting also evokes the arcadian s

The Worship of Venus
Oil on canvas. 1518
Titian (Tiziano Vecellio)
The Worship of Venus
Oil on canvas. 1518
Titian (Tiziano Vecellio)

Titian´s first contribution to the Camerino d´Alabastro was prompted by the death in October 1517 of Fra Bartolommeo from whom Alfonso d´Este had commissioned a Worship of Venus one year previously and for which Fra Bartolommeo submitted a sketch. In April 1518, Titian received instructions on the subject matter and format of the work along with a drawing, probably that by Fra Bartolommeo. In Octo

Offering to Bacchus
Oil on canvas. 1720
Houasse, Michel-Ange
Offering to Bacchus
Oil on canvas. 1720
Houasse, Michel-Ange

This pagan scene shows the offer that the Bacchants, or followers of Bacchus, made to their god. In the center, a priest offers the sacrifice on an altar in front of the statue of the deity crowned with grape leaves. All around, those attending the feast drink, or appear totally inebriated, sleeping off the effects of the wine. This mythological scene shows how Houasse was influenced by the tradit

Sacrifice to Bacchus
Oil on canvas. Ca. 1634
Stanzione, Massimo
Sacrifice to Bacchus
Oil on canvas. Ca. 1634
Stanzione, Massimo

While it is first listed in 1666 at the Alcázar, where it hung alongside Ribera’s Fable of Bacchus or Teoxenia (of which only three fragments have survived: two at the Museo del Prado and one in a private collection), this work’s subject and dimensions suggest it may originally have been commissioned for the Buen Retiro Palace. Along with Finoglia’s Triumph of Bacchus (P7309), Poussin’s Sac

The judgement of Paris
Oil on canvas. 1650 - 1660
Albani, Francesco
The judgement of Paris
Oil on canvas. 1650 - 1660
Albani, Francesco

Francesco Albani was a much favoured pupil of Annibale Carracci. His success was partially due to mythological paintings such as The toilet of Venus (P1) and The judgement of Paris (P2), whose refined and lyrical view of nature helped disseminate the classical ideals of the Carracci`s landscapes.Albani`s The judgement of Paris, c.1650-60, shows the shepherd prince admiring the beauty of three godd

The Wine of Saint Martin's Day
Glue-size on twill / twill weave canvas. 1566 - 1567
Bruegel The Elder, Pieter
The Wine of Saint Martin's Day
Glue-size on twill / twill weave canvas. 1566 - 1567
Bruegel The Elder, Pieter

Practically unknown until now, the present canvas has only been mentioned and reproduced in an article by Matías Díaz Padrón, former curator at the Prado, that was published in Archivo Español de Arte in 1980. The author, who had not seen the painting at first hand, attributed it to Pieter Brueghel the Younger.The canvas depicts the Saint Martin`s Day wine festival. The

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

Diana and Callisto
Oil on canvas. 1745 - 1749
Pierre, Jean-Baptiste-Marie
Diana and Callisto
Oil on canvas. 1745 - 1749
Pierre, Jean-Baptiste-Marie

In Book II of his Metamorphosis, Ovid tells how Jupiter tricked Callisto. This very beautiful nymph who was part of Diana the Huntress´ entourage was seduced by Jupiter, who took on the appearance of that goddess. When she became pregnant, Callisto attempted to hide her state from Diana, who was a virgin and demanded the same of all her entourage. Jupiter converted his lover into a bear in order t

The Arrival of the Trojans at the Strophades Islands and the Attack of the Harpies
Oil on canvas. 1520 - 1526
Dossi, Dosso
The Arrival of the Trojans at the Strophades Islands and the Attack of the Harpies
Oil on canvas. 1520 - 1526
Dossi, Dosso

For the decoration of one of the rooms in Duke Alfonso I of Ferrara’s private apartments in the capital of his duchy, Dosso Dossi executed a frieze comprising ten horizontal canvases of episodes from Virgil’s Aeneid, of which this new acquisition is one. It depicts the attack by the fearful Harpies on the Trojans as they were carousing in the Strophades Islands. Titian’s celebrated Bacchanals, als

Bacchanal
Pencil, Grey-brown wash on white paper. XVII century
Carpioni, Giulio (Attributed To)
Bacchanal
Pencil, Grey-brown wash on white paper. XVII century
Carpioni, Giulio (Attributed To)

El dibujo presenta el mismo estilo que D01521 en la técnica fluida de la pluma, mientras que se repite también el modelo femenino. Son frecuentes en la obra de Carpioni los temas báquicos, aunque no se conoce ninguna obra relacionada con este apunte, que no tiene la calidad de otros dibujos de este artista. A la izquierda, sentado de espaldas, un fauno con un racimo de uvas en la mano, a la derech

Solomon and the Queen of Sheba
Pencil, Grey-brown wash, Red wash on dark yellow paper. Ca. 1647
Fracanzano, Francesco
Solomon and the Queen of Sheba
Pencil, Grey-brown wash, Red wash on dark yellow paper. Ca. 1647
Fracanzano, Francesco

The attribution of this drawing has long been uncertain as can be judged from the old inscriptions, which variously ascribe it to Salvator Rosa and to an unspecified Bolognese draughtsman. In the modern literature it has been given to the Roman artist Giovanni Francesco Romanelli (about 1610-1662), a pupil of Pietro da Cortona, but its recent publication as an important addition to the slim corpus

The Andrians
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Zöllner, Ludwid Theodor; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The Andrians
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Zöllner, Ludwid Theodor; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

Es una litografía de Ludwid Theodor Zöllner (1796?-1860) que reproduce el óleo de Tiziano conservado en el Museo Nacional del Prado (P00418). Esta estampa se entregaba con el cuadernillo CL acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España el señor don Fernando V

The Andrians
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Zöllner, Ludwid Theodor; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The Andrians
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Zöllner, Ludwid Theodor; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

Es una litografía de Ludwid Theodor Zöllner (1796?-1860) que reproduce el óleo de Tiziano conservado en el Museo Nacional del Prado (P00418). Esta estampa se entregaba con el cuadernillo CL acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España el señor don Fernando V

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