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The Maids of Honour (Las Meninas) Painted around 1656-57. ORIGINAL SIZE: 125" X 108.6" This painting is considered one of the worlds greatest works of art , the secret is in creating something revealing in an everyday scene. The painter of "the air" reflects his own workday: in the mirror on the far wall is the reflection of the King and Queen , which is the theme of the painting he is working on, the Princess is looking at her parents, surrounded by her aids and the loyal family dog near by. Question: Is the gentleman in the doorway entering the room or exiting it? Velazquez The Maids of Honour (Detail: Infanta Margarita) (Las Meninas Detalle: la Infanta Margarita) Painted around 1656-57. Infanta Margarita, the centre-piece of Velazquez´s " Las Meninas " . Never has a painting of an individual of royalty been surrounded by so many activities and objects. Everyone's attention is directed towards Margarita while she looks at her parents, the King and Queen of Spain who are posing for the painter . Velazquez Click on the image to enlarge Velazquez Click on the image to enlarge The Thread Spinners (La Fábula de Aracne - Las Hilanderas) Painted around 1644-48. ORIGINAL SIZE: 87.5" X 115.3" Painted around 1644-48 "The Thread Spinners" or "The Fable of Aracne". Another work of his later years, which seems to represent "Aracne´s fable". The spinners composition is like earlier pieces where the principal theme is in the background to the benefit of the theme in the foreground of the painting . Velazquez synthetises this work with an extraordinary knowledge of the pictorial possibilities and the sublime know how of area and perspective. The Crucified Christ (El Cristo Crucificado) Painted around 1632 . ORIGINAL SIZE: 98.42" X 66.92" " The Crucified Christ of Velazquez " reflects a serene dramatism, reinforced by an intense black background which contrasts with the illuminated tense muscular body of Christ. The wood absorbing the blood increases the drama of death. Popular culture believes that Velazquez could not copy the expression on the right side of Christ's face, and therefore opted to cover the left side with his falling hair instead. Velazquez Click on the image to enlarge Velazquez Click on the image to enlarge The Infanta Margarita (La Infanta Margarita) Painted around 1660. ORIGINAL SIZE: 50" X 42.12" According to the strictest of historians this is the last piece painted by Velázquez. He started it around 1660, and it was finished by another painter, Juan Bautista Martínez del Mazo. The Surrender of Breda (La Rendición de Breda o Las Lanzas) Painted around 1634-35 . ORIGINAL SIZE: 87.5" X 115.3" All of the figures in this painting are portraits of each individual present at this historical event, this work is an account of the very real event, almost a Kodak moment of the 17th century. The keen personal interest of the painter is obvious since one of the individuals in the piece is Velázquez himself. Curiosity :The man furthest to the right is in fact Velázquez. Velazquez Click on the image to enlarge Velazquez Click on the image to enlarge The Infant Prince Baltasar Carlos Riding a Horse (El Príncipe Baltasar Carlos a Caballo) Painted:1634/34. ORIGINAL SIZE: 82.28" X 68.11" Painted in 1635, to be placed above the doorway of the living room of kingdoms, in the Palace of the Good Retiro. Velazquez´s Italian influences (Tiziano) are very evident in this piece, easily identified, the clearest example is his treatment of the landscape that highlights the detail of the prince´s clothes. The Infant Prince Baltasar Carlos (El Príncipe Baltasar Carlos) Painted:1634/35. ORIGINAL SIZE: 75.19" X 40.55" A simple composition. Limited above by the outreaching branches,the prince is standing at an angle moving the eye upward through the tree, finishing with the rounded shape of the sleeping dog. A portrait for the exaltation of a member of the royal family ends up becoming a display of Velazquez´s mastery, and like a great impressionist, the dog to the right shows an animal full of energy and readiness in comparison to the larger sleeping one on the ground. Velazquez Click on the image to enlarge Velazquez Click on the image to enlarge The Epiphany (La Adoración de los Magos) Painted: around 1619. ORIGINAL SIZE: 80.31" X 49.80" The Epiphany is very different from the rest of Velazquez´s religious scene paintings. In this painting, the evangelical episode is the primary focus, supported by naturalistic representation. The composition centres on one image, the radiant Virgin and son (Jesus), whose countenances are shaped by the light, while the rest of the characters -Saint Joseph, the wise Kings, and their servants- are accentuated by hard contrasts of light and shade. The Drunkards or The Triumph of Bacchus (El Triunfo de Baco o Los Borrachos) Painted around 1628-29. ORIGINAL SIZE: 65.15" X 87.56" This is an excursion in mythology adapting it to the mundane, he encircles the young Bacchus with peasants. Influences of the schools of Rubens and Tiziano are evident throughout this piece. Velazquez Click on the image to enlarge Velazquez Click on the image to enlarge Vulcan's Blacksmiths Shop (La Fragua de Vulcano) Painted 1630. ORIGINAL SIZE: 87.79" X 114.17" While in Madrid, Velazquez admired Tiziano and Rubens. In Italy, he studied the works of Rafael and Michelangelo. Vulcan's Blacksmiths Shop shows Velazquez´s first echelon of maturity. Influenced by the great masters, his paintings became deeper, richer, and more luminous. Figures developed sleeker bodies. However, he still painted scenes of everyday life with cheerful characteristics and a simple representation of human activities. EL GRECO 1541 - 1614 Click on the image for biography. spanisharts.com The Christ with the Cross (Cristo con la Cruz) Painted 1590 / 95. ORIGINAL SIZE: 41.3" X 31.1" El Greco painted several works about this theme, maybe this painting is the most successful one. It obviously reflects the influence of religious iconography at that time. Curiosity: The fingers' position on the cross is the same forced one as in 'The Knight with a Hand on his Chest'. El Greco Click on the image to enlarge El Greco Click on the image to enlarge The Knight with a Hand on His Chest (El Caballero de la Mano en el Pecho) Painted: 1578 / 80. ORIGINAL SIZE: 31.8" X 25.9" El Greco painted this portrait in his early Spanish years. Also called 'The Knight's Oath', because of the character's position, both his right hand fingers and his left arm behind his back. silver falcon brushes Curiosity: Speculations were made about whether the man was one-handed, as it was impossible to see his left arm, but the reason is bad preservation of the picture which has erased this part of the painting. The Burial of the Count of Orgaz (El Entierro del Conde de Orgaz) Painted 1586 / 88 . ORIGINAL SIZE: 141.7" X 181.10" This painting depicts the burial of Don Gonzalo Ruiz (Count of Orgaz). The body of the deceased is being introduced into his sepulchre by the saints Agustin and Steven, encircled by real people of the time, where we can find a self portrait of El Greco. This painting is not found in the Museum of El Prado, it is located in the church of Saint Tome in Toledo, Spain. However in the Museum hangs a copy painted by JORGE MANUEL (the son of El Greco), therefore the inclusion in our collection. El Greco Click on the image to enlarge El Greco Click on the image to enlarge The Adoration of the Shepherds (La Adoración de los Pastores) Painted: 1612 / 14. ORIGINAL SIZE: 125.9" X 70.8" Provides an excellent example of the artist's late style, the whole painting is used to show up the Christ-child. Both color and spatial position of the elements force the viewer to direct his look to the main character of the painting. Curiosity: Take notice that even the ox is looking towards the child. The Holy Family (La Sagrada Familia) Painted 1590 / 1600 . ORIGINAL SIZE: 42.12" x 27.16" This piece represents the Virgin Mary, Saint Joseph, and Jesus Christ, with Saint Ann, and Saint John the Baptist as a child. As you can see, the composition is very similar to that of the Virgin of the Good Milk. The artist made use of old sketches, added a few figures and completed the composition. He produced many pieces in this manner. El Greco Click on the image to enlarge The Virgin of the Good Milk Click on the image to enlarge The Virgin of the Good Milk (La Virgen de la Buena Leche) Painted: 1595. ORIGINAL SIZE: 50" x 41.74" The " Prado " has one of the several examples that the painter El Greco produced on this theme. The structure as well as the situation of the figures, is one that El Greco repeated many times. That which should be appreciated is the background, which makes the central figure and action stand out. Curiousity: observe the position of the Virgin´s fingers. The Crucifixion (La Crucifixión) Painted 1695 / 1600. ORIGINAL SIZE: 122.8" X 66.5" The crucified Christ is in the company of the Virgin, Mary Magdalene and St. John the Baptist. The exaggerated spiritual atmosphere that El Greco creates in this painting is remarkable. The elongated bodies and the careful composition of different but simultaneous actions proves El Greco´s unquestionable imagination. GOYA 1746 - 1828 Click on the image for biography. spanisharts.com spanisharts.com More insight The Naked Maja (La Maja Desnuda) Painted 1797 / 98. ORIGINAL SIZE: 38.18" X 74.80" At first it was called "gypsies", matching the clothed Maja. It creates a new nudity form, later followed by other painters, specially in France. Speculations about models for this work have been very numerous: nowadays it's believed that he used several women, ones for the face and others for the body. Goya's use of light is really splendid, obtaining an intimate and tinged atmosphere. Curiosity: The model's weight lies on her feet. Goya Click on the image to enlarge Goya Click on the image to enlarge The Clothed Maja (La Maja Vestida) Painted 1797-98. ORIGINAL SIZE: 37.52" X 74.80" It repeats the naked Maja's composition, both in structure and in the model's position. But changes are clear in colours and general atmosphere. Goya is believed to have used a different model, more stylized in this case. Curiosity: The model's weight lies on her calves. The Dog on the Leash (El Perro Semihundido o El Perro en la Arena) Painted 1820 / 21. A disturbing and undecipherable painting. It belongs to the 14 "black paintings", and it was painted on the wall of one of the Quinta del Sordo's (the House of the Deaf Man) rooms. There's no biblical or mythological inspiration, it could be possibly an expression of his own anguish. Curiosity: Is the dog on the sand or in the water? Goya Click on the image to enlarge Goya Click on the image to enlarge The Milkmaid of Bordeaux (La Lechera de Burdeos) Painted 1827. ORIGINAL SIZE: 29.13" X 26.77" It was painted during his exile years in France. Goya returns to his beginnings´ brightness, blurring borders and including blue colour in the background. Curiosity: It is considered the first impressionist painting in art history. The Wine Harvest (La Vendimia) Painted: 1786 / 87. ORIGINAL SIZE: 109.05" X 75.59" Lively shades and their contrast forming a harmonic whole, show us the artist´s true maturity. Scenes from everyday life at the time is the main motif in a series of paintings Goya did between 1786 and 1788. Curiosity: Background workers enjoy their job!. Goya Click on the image to enlarge Goya Click on the image to enlarge The Puppet (El Pelele) Painted: 1791. One of the last works that Goya painted for the textile mill of King Carlos IV. It's supossed to have a symbolic meaning, full of sarcasm about the monarch and the country's political position. The Shootings of May 3rd. (Los Fusilamientos del 3 de Mayo) Painted: 1814. ORIGINAL SIZE: 104.72" X 135.82" The picture was painted by commission of the King together with "The Charge of the Mamelukes" to perpetuate the Madrid people´s stand against the forces of Napoleon. Possibly they were made from sketches drawn by witnesses at the shootings. Both the night and symmetrical composition of the subjects emphasize the drama: those being shot with their faces looking ahead, filled with feeling, and the soldiers from behind, depicting evil's machines. Goya Click on the image to enlarge Goya Click on the image to enlarge The Blind Man's Bluff (La Gallina Ciega) Painted: 1789. This is the only finished cartoon of the series painted by Carlos III's commission. Customs and manners subject, and strong French influence applied to Madrid's festivals in an inspired way. The painting shows the melancholy that began to torture the painter. The Parasol (El Quitasol) Painted: 1777. ORIGINAL SIZE: 87.5" X 115.3" This painting was among the second group of 10 cartoons displayed in the dining room of the Prince and Princess of Asturias –the future King Charles IV and Maria Luisa de Parma– in the Palace of the Pardo in Madrid. The canvas reproduces a popular motif, inspired from the most picturesque aspects of customs and life in Madrid at the time. The PARASOL is an original composition. The fresh and warm colouring, the damsel responding to a gallant flirtation, and the lit background make this one of Goya's most cheerful paintings. Goya Click on the image to enlarge Goya Click on the image to enlarge The Junkman (El Chatarrero) Painted 1779. ORIGINAL SIZE: 101.9" X 86.6" It was painted for the King and is plentiful of 18th century Spanish popular atmosphere. The theme was possibly suggested by the King's own daughter. Velazquez's influence can be observed here in dealing with shapes and objects (tableware on the ground). The Flower Girls (Las Floreras) Painted: 1786 / 87. ORIGINAL SIZE: 00.00" X 00.00" Before King Carlos III's death, Goya painted some works for the royal dining room of the Palace of El Pardo. It's based on country subjects, as 'The wine harvest' is. They are absolutely filled with life and joy, reflecting the painter's personal situation and Spain's one till the monarch's death. Goya Click on the image to enlarge Goya Click on the image to enlarge The Wedding (La Boda) Painted: 1791 / 92. large cartoon in which Goya reveals his satirical talent. It shows an arranged wedding at that time: the children, the musicians, the bride and groom (she's elegant, he's grotesque), the bride's friends, the priest, the best man...everybody forming the wedding party. Curiosity: It's is a succession of caricatures of the age characters. The Picnic at the Edge of the Manzanares River (Merienda a la Orilla del Manzanares) Painted: 1776. Goya again shows his ability to capture a moment in action, here he fills the scene with great vitality and life, as well as the sensuality of eating and sharing out in the open landscape. Goya Click on the image to enlarge Goya Click on the image to enlarge Game of the Little Giants (Las Gigantillas) Painted: 1792-1793. One of his last works before being named painter to the courts of Spain. This was around the time that he became totally deaf, as the smile on the child in the painting shows, happiness mixed with aprehension and maybe fear, which is different from the usual bliss of his scenes which were to decorate the palaces dining rooms. St. Isidro's Meadow (La Pradera de San Isidro) Painted: 1789. ORIGINAL SIZE: 87.5" X 115.3" This customs and manners depicted here is the best example of Goya's countryside motif, which is the main subject of a cartoon series that Goya painted by commission of Carlos III. They were unfinished because of the King's death. According to Goya himself, he had some trouble with the composition. It isn't strange, only one look is needed to see the complexity of this picture. Goya Click on the image to enlarge Goya Click on the image to enlarge The Snowstorm (La Nevada) Painted: 1786 / 87. ORIGINAL SIZE: 108.26" X 115.35" Goya has already assimilated Tiepolo and Velazquez. He's able to reflect the feeling of cold in his characters, though this is more appreciable in the dog, which is practically paralysed. Saturn Devouring His Son (Saturno Devorando a su Hijo) Painted: 1819 / 23. ORIGINAL SIZE: 57.48" X 32.67" Maybe the most terrible of Goya's paintings, it was done during his last and dark years. The expressed violence depicts the tortured mind of the painter, typical of his whole work. Goya Click on the image to enlarge Goya Click on the image to enlarge Old Men Eating Soup (Viejos Comiendo Sopas) Painted: 1819 / 23. This is one of the 'black paintings' of la Quinta del Sordo (the House of the Deaf Man) - where Goya lived. His house was named because of his deafness. The reduced and dark palette of these paintings show once more the painter's state of mind. The Witches' Sabbath (El Aquelarre) Painted: 1821 / 23. ORIGINAL SIZE: 55.11" X 93.70" Black painting with all its attributes: darkness, deformed and misshapen figures, not much variety of colours. Depictes a popular sorcery act. Goya Click on the image to enlarge Goya Click on the image to enlarge Pilgrimage to St. Isidro's Fountain (Peregrinación a la Fuente de San Isidro) Painted: 1821 / 23. ORIGINAL SIZE: 55.11" X 172.44" This popular walk of the pilgrims to St. Isidro's fountain goes back to scenes from everyday life, from the artist's most sad and pessimistic point of view. It belongs to his black paintings. Cat Fight (Gatos Riñendo) Painted: . ORIGINAL SIZE: 00.0" X 00.0" Colours, force, aggression, expression, pure impressionism. A magically achieved counter light, and silhouettes with the irregular shape of cats fur, expressing their emotion. MURILLO 1617-1682 Click on the image for biography. spanisharts.com spanisharts.com More Murillo´s pictures: "A little history of Art" The Holy Family of the Little Bird (La Sagrada Familia del Pajarito) Painted: 1650. ORIGINAL SIZE: 56.6" X 74.0" Influenced by the styles of Zurbaran and Rivera, this piece represents a domestic scene treated with sweetness, which gives the painting a mix of a precise theme with triviality. The composition of opposing figures is an inheritance of Italian schooling, with a diffused technique yet meticulous in form. Murillo Click on the image to enlarge Murillo Click on the image to enlarge The Good Shepherd (El Buen Pastor) Painted: 1660. ORIGINAL SIZE: 64.56" X 43.30" Murillo dominated the anatomy and expression of young children, creating many works with infant themes. In this case the peace and serenity that expresses the child with the lamb allowing itself to be caressed, tries to show the pleasure and peace a believer should experience in his faith. The Boys of the Shell (Los Niños de la Concha) Painted: 1670. ORIGINAL SIZE: 40.9" X 48.8" This painting represents Jesus giving a drink to St. John under the heavens populated by the little angels. Again obvious Italian influence, reflects with mastery children with adult gestures without resulting extravagant. Murillo Click on the image to enlarge Murillo Click on the image to enlarge Virgin with a Rosary (La Virgen del Rosario) Painted: 1950 / 55 . ORIGINAL SIZE: 64.56" by 43.30" All of Murillo's characteristics are found in this one piece, the vapourous atmosphere, the domination of the childish figure and expression, the detail, the idyllic feminine figure. Transmission of tranquility, interior peace, Murillo was an expert of the time in expressing devotion in his paintings, he uses the light and dark not only as a technique but also a way to communicate to the onlooker´s soul. The Immaculate Conception of Soult (La Immaculada de Soult) Painted: 1678. ORIGINAL SIZE: 87.40"x 46.45" One of Murillo´s later works, being one of the most solid and achieved of this master. The majestic plastic feel is accentuated by the atmospheric density that surrounds the figures. Curiousity: This painting was confiscated in 1813, by Napoleon´s general "Soult", later returned to the Prado Museum in 1940, hence the name. Murillo Click on the image to enlarge Murillo Click on the image to enlarge The Immaculate from El Escorial (La Inmaculada de El Escorial) Painted: . ORIGINAL SIZE: 37.79" by 25.19" Of a smaller size than all the rest of his Virgin Mary´s, represents a glorious Immaculate, triumphant. Exaggerated with the great luminosity that surrounds her entire figure. The types of beautiful models that Murillo used in all his virgins, only promoted and accentuated their popularity and fame. Immaculate of Crescent Moon (La Inmaculada de la Media Luna) Painted: . ORIGINAL SIZE: 81.10" by 56.69" A Immaculate different from the others in attitude not in composition, this being similar to the rest. The Virgin has a white countenance, far away eyes seem to give an impression of sadness for her lost son. The angels that surround her have all a serious look in their eyes, none are smiling. The vaporous style that gave so much fame to this artist is evident in this piece. Murillo Click on the image to enlarge More Murillo´s pictures: "A little history of Art" BOSCH 1450-1516 Click on the image for biography. spanisharts.com spanisharts.com The Garden of Earthly Delights (El Jardin de las Delicias) Painted: 1500. ORIGINAL SIZE: 81.1" X 151.9" An exceptional trilogy, a prodigy in myths and mundane traditions with imagination, plagued with a climate of fantasies that seem inexhaustible. It is a painting that has successive situations that beg the onlookers´ contemplations. Bosch Click on the image to enlarge Bosch Click on the image to enlarge The Garden of Earthly Delights - Paradise (El Jardin de las Delicias - El Paraiso) The first section of the triptych piece known as the Garden of Earthly Delights, seems to depict the garden of Eden with Adam and Eve, before the eating from the tree of knowledge, since neither Adam nor Eve are hiding from what seems to represent God. Curiousity: at the centre right of this section, is a mound of dirt that when looked at closely seems to be a face of a moustached man, what's curious is that this type of image was accredited to a great painter centuries later, Dali. The Garden of Earthly Delights - Central Panel (El Jardin de las Delicias - El Madroño) The centre piece of this Bosch triptych depicts many activities among women and men. In the middle ages it was popular belief that debauchery was the mother of all sins and that it was from it that all other sins would then follow . It was also believed that the source of this temptation and sin came from women. Following the example of Eve who influenced Adam, it was believed that women could not help themselves, that was the way they were. Without a doubt a painting which generates thought. Bosch Click on the image to enlarge Bosch Click on the image to enlarge The Garden of Earthly Delights - Hell (El Jardin de las Delicias - El Infierno) The final part of the triptych, is the representation of that feared place that we all know as hell. It is a scene that represents the results of a life of immorality or sin where the artist depicts different punishments for the different sins. Curiousity: The face that looks out from the center of the painting, under the dish that holds the bagpipes, is a portrait of Bosch himself. Tabletop of the Seven Deadly Sins and the Four Last Things (La Mesa de los Pecados Capitales) ORIGINAL SIZE: 47.2" X 59" The table belonged to Philip II and it was in El Escorial until 1938. Then it was moved to El Prado Museum, where it's been up to the present time. Five circles are forming this table: four little ones (Death, Judgement, Hell and Glory), and a central one that seems to be a big eye which shows resurected Christ in the middle. All around this pupil (little circle) there are scenes of everyday life depicting the deadly sins: Pride, Lust, Greed, Sloth, Gluttony, Envy and Wrath. A curiosity: Latin inscription "Cave, cave, dominus videt" means "careful, careful, God's watching you". Bosch Click on the image to enlarge Bosch Click on the image to enlarge The Cure of Folly or The Stone Operation (La extracción de la piedra de la locura) Painted: 1475-80. ORIGINAL SIZE: 0,48/0,35 m This is a circular composition which suggests to the viewer the possibility of looking at it through a mirror. It deals with a painting loaded with burlesque and symbolic allegory. Bosch has soaked himself in folkloric fountains and customs of the time to tell of the extraction of the stone of necessity from Lubbert Das (a comical character who originates from Dutch literature). This canvas, in which the painter attacks the practice of folk medicine, is carried out from a high perspective to allow him a greater space to depict the story. Some critics doubt the authenticity of the painting of the characters, which could have been put in by a lesser painter, but this is not so. The composition is finished off with the inscription "Master, take away the stone, my name is Lubbert Das". Now, you are the ones who should speculate over the significance of the scene. Roberto Bueno Bachelor of Art History The Temptations of St. Anthony (Las tentaciones de San Antonio) Painted : last years. ORIGINAL SIZE: 0,70/0,51 m In this picture, which is possibly his last work, appears the iconography used by this Flemish painter during the length of his painting career. It evokes a corrupt world through which he tries to transmit a series of moral and spiritual truths which have precise meanings. The result is the accumulation of a series of strange compositions in which he mixes the human with the fantastic and which captivate the onlooker because it portrays an unusual scene. The Saint, who appears thoughtful in the foreground, increases his faith before the tempting attacks of the devil. The picture is a precise chromatic scene, due in part to the painter´s perfectionism of oil techniques. Roberto Bueno Bachelor of Art History Bosch Click on the image to enlarge Bosch Click on the image to enlarge The Haywain (El carro de heno) Painted: 1500-02. ORIGINAL SIZE: Central panel, 1.35/1.00 m The panel is divided into three parts. The left side depicts earthly paradise. The right side represents hell. The central one , which is at ElPrado Museum, contains the hay cart. In it, a bluish devil (symbol of deception) stands out, who directs the human race towards destruction. Allegory serves Bosch to depict the road of life. In the picture, he criticises all levels of medieval society, including the clergy. This picture is the culmination of the satirical and moralistic intention which characterises this brilliant Flemish painter. The contrast between the dynamism of the central scene with the tranquility of the background landscape stands out, giving this great luminosity. Roberto Bueno Bachelor of Art History The pilgrim. (El peregrino. Postigos del tríptico “El carro de heno”) ORIGINAL SIZE: Posterns of the triptych "The Haywain" 1.35/1.00 m Once "The Haywain" triptych is closed, one contemplates a highly moralistic scene. In it, a walker appears, upset. The man, a pilgrim, moves away from temptation because he seems repentant. El Escorial monastery houses a replica of this panel, but of lower quality. Consuelo López Bachelor of Hispanic Philology Bosch Click on the image to enlarge Bosch Click on the image to enlarge The Adoration of the Magi (La adoración de los Reyes Magos) Painted: 1510. ORIGINAL SIZE: Central panel, 1.38/0.72 m. Side panels, 1.38/0.4 m Bosch broke away from the Flemish tradition in this triptych, in which nevertheless, he preserved the style by finishing the panel in a curved head, such as they did in Holland after 1500. The figures are solemnly silhouetted against a balanced landscape from which the usual fantasies have disappeared. In the background lies the city of Jerusalem with a singular architecture. The human figures are made to stand out: the Virgin richly dressed and with the child in her arms, the three Magi portraying haughtiness, the donors, one beside St. Peter, on the left, and the other beside St. Agnes, on the right. By looking closely, the onlooker will come across some humorous details - for example, St. Joseph, who is drying Jesus´s diapers and the peasants´ dance, animated by such a profane and sexually symbolic instrument as the bagpipe. ZURBARAN 1598 - 1664 Click on the image for biography. spanisharts.com spanisharts.com More Zurbaran´s pictures: "A little history of Art" Still Life (Bodegón) ORIGINAL SIZE: 18" X 33" A combination of four subjects on one plane.His geometric structure and composition demonstrate a meticulous study for the masterful creation of this still life. This still life´s composition seems simple , however the light invading from the left, the placement of the subjects at different angles, and the obvious intentional focussing on the handles, demonstrates a meticulous placement study and form. Curiousity: none of the subjects´ handles are placed at the same angle. Zurbaran Click on the image to enlarge Zurbarán Click on the image to enlarge St. Luke the Painter before Christ on the Cross (San Lucas ante Cristo en la Cruz) Painted 1660. ORIGINAL SIZE: 1.05/0.84 m This is one of the artistes most dramatic pictures. Christ appears emaciated, with his feet bound and attached to the cross with four nails. The technique of tenebrism gives this figure a poignant touch, which changes dramatically when focussing on the other character in the picture, the painter. The painter studies his model indifferently, and not with the religious fervor expected of a saint. According to legend, St. Luke was a painter and Zurbarán, who produced a portrait of himself in order to give shape to this saint, represents him engaged in his hobby and not in an act of devotion. Consuelo López Bachelor of Hispanic Philology St. Casilda (Santa Casilda) Painted 1638-42. ORIGINAL SIZE: 1.84/0.9 m As the model for St. Casilda, Zurbarán used a lady of the court, probably a friend or someone he knew, and carried out a portrait in which he combines religious symbolism with courtesan fashion of the 17th century. In the painting, the elegance, serenity and dignity of the woman is emphasized. Likewise, he impresses upon the luminosity of the materials, stateliness of the costume, and fineness of the brocade. According to legend, St. Casilda, who was daughter of a muslim king of Toledo, carried bread hidden in her clothes, to feed the hungry captured christians. On one occasion, the soldiers questioned what she was carrying in her skirt, and as she showed them the bread, it turned into a bouquet of roses. Consuelo López Bachelor of Hispanic Philology Zurbarán Click on the image to enlarge Zurbarán Click on the image to enlarge Vision of St. Peter Nolasco (Visión de San Pedro Nolasco) Painted 1629. ORIGINAL SIZE: 1.70/2.23 m This vision of Zurbarán´s illustrates, as in few canvases, the difficulty which the painter must overcome in order to combine the idea which inspires the painting and the technique in which it is carried out. This points out three errors: the perspective in which he places the table and chair, the lack of expression in St. Peter Nolasco and the need for celestial feeling in the angel. Neither did the painter get the representation of the city of Jerusalem right, which appears in the top left corner of the picture. On the other hand, the capacity to capture the visible reality and the development of realism, which spread its roots in Caravaggio, are tangible qualities of the painter. Consuelo López Bachelor of Hispanic Philology Apparition of the Apostle St. Peter to St. Peter Nolasco (Aparición del Apostol San Pedro a San Pedro Nolasco) Painted: 1629. ORIGINAL SIZE: 1.79/2.23 m Zurbarán uses light as the main life source of realism which pervades this picture. Light, as divinity itself, as manifestation of the supernatural. It emphasizes the monumental character of the apostle, who stands out with his sculptural air, thanks to the technique of tenebrism – the contrast of light and dark. The pictures interest lies in the intention to indoctrinate, to teach the faithful, to show them the truth of faith. The painting is viewed as some sort of rhetoric in which the content, the idea, is offered to the onlooker from a noble presentation. Again, it is necessary to point out that the painter made structural errors, with regard to the perspective which he corrects with a curtain of clouds. Roberto Bueno Bachelor of Art History Zurbarán Click on the image to enlarge Zurbarán Click on the image to enlarge Defense of Cádiz Against the English (Defensa de Cádiz ante los ingleses) Painted: 1634. ORIGINAL SIZE: 3.02/3.23 m This is the only picture with a historical theme that the artist painted. Zurbarán shows his limited capacity for the profane composition. He tries to create a theatrical scene in order to endow credibility on the warlike conflict. For this, he divides the canvas into two planes: in one part appear the defenders – isolated and timeless figures, a true portrait gallery through which he is unable to portray the state of their souls. In the other the battle is immortalized – probably copied from some 16th century Flemish tapestry. Once again, the painter shows his weak resources for outlining perspectives. BRUEGHEL the Elder 1525 - 1569 Click on the image for biography. spanisharts.com spanisharts.com The Triumph of Death (El Triunfo de la Muerte) Painted: 1562. ORIGINAL SIZE: 43.30" x 63.77" Pieter Breughel was a characteristically Flemish painter, who enjoyed conserving the traditions of early Renaissance painting, but at the same time, took satirical, critical and moralistic inspiration from Bosch. In this complex painting, where the overall theme is one of pessimism, Breughel uses a variety of scenes to depict the anguish and lack of hope - with the use of sombre colours for both the bare earth and the background fires - to herald the arrival of Death, which comes on a squalid horse, bearing a scythe and pushes humanity against a mound of skeletons, which uses coffin lids as protection. Brueghel Click on the image to enlarge Brueghel Click on the image to enlarge Snowy Landscape (País Nevado) Brueghel, a very knowledgeable man, began with his earliest works of landscapes, an interest he retained throughout his life. These demonstrate his ability to depict the changing seasonal moods and the atmospheric qualities of nature. He had a great admiration for his Flemish predecessor, Bosch whose influence is notable in many of his works, although Breughel refined his own enriched, sensitive and creative technique, but at the same time, keeping in touch with reality. It has been said of his works that there is more thought than painting. BRUEGHEL the Younger 1564 - 1627 brushes Click on the image for biography. spanisharts.com spanisharts.com esho Snowy Landscape (Paisaje Nevado) Pieter Bruegel the Younger, following in his father´s footsteps, Pieter the Elder, painted similar fantasy subjects and also made quality copies of his father´s scenes of peasant life. This particualr painting is a copy of one which his father painted in 1565, and which now is the possession of the Delporte Collection in Brussels. This has been one of the most popular paintings by Pieter Breugel the Elder, to be copied by many, especially by his son who copied it several times. Jan BRUEGHEL 1568 - 1625 Click on the image for biography. spanisharts.com spanisharts.com Flower Bowl (Cuenco de Flores) This is a perfect example of Jan Brueghel's dedication to the seemingly humblest part of a composition, which is very characteristic of the Flemish schools of painting, and most of all the Dutch schools of the XVII century. Jan Brueghel was a specialist in flowers, which he would use as decorative elements and sometimes as frames to place around the subjects of his paintings. Jan Brueghel Click on the image to enlarge Jan Brueghel Click on the image to enlarge Wedding Banquet (Banquete de Bodas) Another example of the types of paintings being produced in those times, weddings or parties, where Jan Brueghel would place great importance on the background images. This painting represents typical activities of the time and Flemish customs, these were themes of the epoch. Even his own father and brother painted many works of this type. Vase of Flowers with a Frog (Florero de la Rana) Jan Brueghel uses a frog to give this piece its own identity, by placing the frog to the left of the vase. This is the reason for the types of names he gave his works. This is something he did often in his creations, and a signature of Jan Brueghel. Jan Brueghel Click on the image to enlarge Jan Brueghel Click on the image to enlarge Vase of Flowers with a Fly (Florero de la Mosca) Jan Brueghel collaborated with Rubens on many occasions, creating many floral and ornamental medallions for Rubens' works. So it is not a surprise that we find many floral themes in his own works. In this particular one we find a fly on the left side of the table, which was a way that he would personalize the painting and a way to differentiate it from other florals that he painted. RIBERA 1591 - 1652 Click on the image for biography. spanisharts.com spanisharts.com More insight More Ribera's pictures: "A little history of Art" The Martyrdom of St. Philip (known as of St. Bartholomew) (El Martirio de San Felipe, conocido como el de San Bartolomé) Painted 1639. ORIGINAL SIZE: 2,34 x 2,34 m This painting was usually considered to represent the martyrdom of St. Bartholomew, the apostle who, according to tradition, was skinned alive, but recent researchs have proved that represents the martyrdom of St. Philip, favorite saint of Philip IV. The picture is supposed to have been painted by this king's commission. It's one of the artist's mature works, as it comes out from the richness of colours, the magnificent nude of the saint and the delicacy of the background. Ribera depicts the moment before torture: the saint's body is being lifted while one man is holding his leg. In the background, left and right, two groups of onlookers. The Martyrdom of St. Philip Click on the image to enlarge Ribera Click on the image to enlarge Jacob's Dream (El Sueño de Jacob) Painted 1639. ORIGINAL SIZE: 1,79 x 2,33 m This is one of Ribera's most famoust works and it really shows Caravaggian and Venetian school influence. Composition is mixing both naturalist and obscure elements that emphasize the human figure. Jacob appears like in a theatrical sky, deeply asleep. Here Ribera makes smoother his earlier paintings dramatic effects, giving clearly an example of the mature artist's years. St Andrew (San Andrés) Painted 1630-32. ORIGINAL SIZE: 1,23 x 0,95 m The second stage in the picture of José de Ribera is from 1625 to 1639, so-called dark period of "el Españoleto". It´s a realistic work; in this painting Ribera succeeds in making an anatomical study of great quality. ARELLANO Click on the image for biography. spanisharts.com spanisharts.com Flower Basket (Cesto de Flores) The artist painted several canvases of almost identical composition; emphasising the use of light, always leaving the flowers illuminated in the centre, with the background becoming increasingly darker, to near total blackness, but being resourceful enough to achieve great variety in the pictures. Curiosity : there is a small lizard on the right hand corner of the table. MORALES 1510-1576 Virgin with the Child (Virgen con el Niño) ORIGINAL SIZE: 33" X 25.6" This painting was donated by Pablo Bosch to the Museum of El Prado. Representing the Virgin mother gently, delicately holding her child. The painting reflects the adaptation of descriptive forms of the early Renaissance, and also the Spanish mysticism of that epoch. Examples are the expressions, and the technique of contrasting dark and light. This painting also reveals a profound religious feeling, incorporating the manieristic style (probably influenced by the Dutch painters he worked with). MELENDEZ 1450-1516 Click on the image for biography. spanisharts.com spanisharts.com Salmon, Still Life (Bodegón del Salmón) ORIGINAL SIZE: 16.53" X 28.34" Meléndez mixes 4 different materials with 4 very different textures, achieving a balanced contrast. He plays with mastery, the progression of colours from the dark red, browns of the pitcher, through the copper,and the orange of the salmon, finishing up with the yellow of the lemon. Melendez Click on the image to enlarge Melendez Click on the image to enlarge Cucumbers, Still Life (Bodegón de los Pepinos) ORIGINAL SIZE: 16.53" X 28.34" Meléndez´s mastery of light is very evident in this piece. The tomatoes and cucumbers amass great luminosity in the foreground yet he chooses paler light for the background. Curiosity: Tomatoes seem to have different standards for looks today than in Meléndez´s time. Plums, Still Life (Bodegón de las Ciruelas) Meléndez´s struggle in this painting was to achieve equal importance in the contrasted colours, the bread, the pitcher, and the plums. His harmonious results are evidence of his mastery. Melendez Click on the image to enlarge Melendez Click on the image to enlarge Apples, Still Life (Bodegón de las Manzanas) Meléndez obviously dominated the art of still life. If in the Cherries Still Life, he played with contrast, in this piece the chromium lighting over the objects shows off his special abilities once more. In any case, a balanced and serene still life. Pears, Still Life (Bodegón de las Peritas) Not only did Meléndez dominate the techniques, he also dominated the formats. He fills this piece equally with horizontal and vertical. Also with texture, colours, lighting, and forms...it would be hard to fill this still life with anything more, his signature and the date are found as in most of his works, on the edge of the table. Melendez Click on the image to enlarge Melendez Click on the image to enlarge Cherries, Still Life (Bodegón de las Cerezas) The subjects seem to escape out through the sides, the vertical format made him use dark, sombre colours for the background. Once again Meléndez uses contrasting colours, yellows, reds, greens, and greys. REMBRANDT 1606 - 1669 Click on the image for biography. spanisharts.com spanisharts.com More Rembrandt's pictures: "A little history of Art" Artemisia (Artemisia) Painted 1634. ORIGINAL SIZE: 1,42/1,53 m One of his earlier masterpieces. Artemisia, queen of Pérgamo, receiving the cup containing his beloved husband Mausolus' ashes from a servant. The painting is signed in 1634, the year in which the painter married Saskia van Uylenborch, who is supposed to be the model for the painting. This fact, his marriage, the subject, all in the picture seemed to represent conjugal love. The lighting and pictorial technique that feautured the luxury dress and the perfect figure shape standing out against shadow are characteristic from those years of Rembrandt's work. Rembrandt Click on the image to enlarge DURER 1471-1528 Click on the image for biography. spanisharts.com spanisharts.com Adam (Adán) Painted: 1507. ORIGINAL SIZE: 82.2"x31.8" This diptych, which comprises Adam on the left and Eve on the right, was painted by Dürer on his return to Nuremburg after his second trip to Italy. The composition of both subjects is similar. He has Adam standing motionless, holding a branch of the tree of the forbidden fruit in his left hand. It is interesting to note the impressive distribution of light and shade in his face, the angle of his head and the detail of his hair. Adam and Eve were donated to the Spanish Crown by Christine of Sweden during the reign of Philip IV. Durer Click on the image to enlarge Durer Click on the image to enlarge Eve (Eva) Painted: 1507. ORIGINAL SIZE: 82.2"x31.4" In the composition of Eve although similar to that of Adam, the figure of her is more dynamic, owing to the forward position of her right leg as the snake offers her the forbidden fruit. On the sign which hangs on the branch of the tree, you can read "Albert Dürer, German, painted this after the childbirth of the Virgin in the year of our Lord 1507" RUBENS 1577 - 1640 Click on the image for biography. spanisharts.com spanisharts.com More pictures of Rubens: "A little history of Art" The Three Graces (Las Tres Gracias) ORIGINAL SIZE: 87" X 123.6" Represents a group of three women, nudes in the forest, which is inspired by models of ancient times of classical Italian culture, a common characteristic of Rubens' works. Possibly a later work of the master, where he shows a modification by adding turpentine to his paint, that implies more fluidity to his colour tones. Curiousity: the woman on the right was his second wife, Helena Fourment. RAPHAEL 1483 - 1520 Click on the image for biography. spanisharts.com spanisharts.com The Holy Family of the Lamb (La Sagrada Familia del Corderito) Painted: 1507. An exquisite piece, which was painted by Raphael during his youth. He was living in Florence, at which time he met Leonardo da Vinci and Michelangelo. Da Vinci´s influence can be noted in this work by way of the gradual shading from one colour to another, creating the shadow which highlights the Virgin´s face and the child´s body. The artist also gives great attention to detailing the background here (a city on a hilltop on the left) , something he would give less importance to when he later moved to Rome. More Painters: COOSEMANS PRET PILLEMENT MABUSE VAN SON spanisharts.com spanisharts.com Alexander COOSEMANS Fruit Bowl (Frutero) Alexander Coosemans was born in 1627 and he died in 1689. He was a notable Flemish painter who specialized in still lifes, with transparencies and dark tones specially in the backgrounds, to help accentuate the painted items in the foregrounds of his compositions. Coosemans Click on the image to enlarge Pret Click on the image to enlarge PRET Vase of Flowers (Florero) Flowers and colours, the entire painting encompasses both of these elements. He plays with the lights to create a background, for instance the upper right corner contrasts with the flowers, buds, and their dark colours in order to embellish the light coloured flowers. In the lower left the vase is not painted it is just implied. Jean PILLEMENT Landscape (Paisaje) Jean Pillement was born in the French city of Lyon in 1728 and died in the same city in 1808. He would paint numerous works with popular themes of the times, painting great vistas that made most of his works more than just a simple representation of the times or traditions. He worked for the courts of Poland and France becoming one of Marie Antoinette´s favourites. Pillement Click on the image to enlarge Mabuse Click on the image to enlarge Han Gossaert MABUSE Virgin with the Child (Virgen con el Niño) He was born in Maubege, Holland in 1478 and died in Middleburg around 1533-36. Opulant forms and a care for light and darkness which can be appreciated in the treatment of the folds of the clothes. The background, an impressive architectonic perspective. A sure and presice, even rigorous deliniation, in the best of Flemish tradition. Joris VAN SON Still Life (Bodegón) Van Son was born in 1623 and died at 44 years of age in 1667. There are several still lifes of Van Son in the Museum of El Prado. The still life that is shown here is characterized by the apparition of opened oysters as the central element, not a common motif in this type of compositions. The lemon in conjunction with the oysters offers up a dish of yellows that indulges the spectator to focus his view on these objects. JUAN DE JUANES 1523-1579 Click on the image for biography. spanisharts.com spanisharts.com The Last Supper (La Ultima Cena) Painted: 1560s . ORIGINAL SIZE: 45.6" x 75.1" This work is one of the most characteristic of this Valencian painter. As in the rest of his paintings, this has an ecclesiastical content. It shows a great artist, whose mastery of colour can be compared with the Flemish painters. The scenes are often beatific and convensional, with figures which represent calmness and spiritual peace. A later painter, Francisco Ribalta, copied this painting. FRA ANGELICO 1387 - 1455 Click on the image for biography. spanisharts.com spanisharts.com The Annunciation (La Anunciación) Painted around 1430 / 45. ORIGINAL SIZE: 63" X 70.86" Painted for the church of Santo Domingo de Fiesole, later being transferred to Spain, placed in the Convent of the Loyal Barefeet, and later to the Prado. On the first plane we see the Archangel Gabriel and the Virgin Mary. On the second plane we see the expulsion of Adam and Eve from the garden of Eden. Curiosity: the perspective of the bench, an inanimate object, shows the mastery of the painter over his work. VAN ORLEY 1491/92-1541/42 Click on the image for biography. spanisharts.com spanisharts.com Virgin (Virgen) Painted: 1515. ORIGINAL SIZE: 38.5" x 27.9" This painting contains the new artistic influences which prevailed in the sixteenth century, the new techniques of the precursors to the Italian Renaissance. Van Orley´s excellent artistic qualities are reflected in this painting. He has changed the setting of this religious scene by painting the divine personae against a contemporary and very realistic background, instead of being set against a coloured background. PEETERS 1594-1659 Click on the image for biography. spanisharts.com spanisharts.com Still Life (Bodegón) Painted: 1611. ORIGINAL SIZE: 20.4" x 28.7" Clara Peeters is one of several women who pioneered the development of still life painting in the early seventeenth century. Most of her works can be categorized as flower, banquet or breakfast pieces depicting sumptuous displays of food and drink. This particular painting is typical in subject matter,composition, and style of her later work. She often combined perch, shrimp, and oysters in groupings that contrasted their colors, shapes, and textured surfaces. And in several of her works, she used a slanting object to depict depth beyond the picture plane. DAVID 1460-1523 Click on the image for biography. spanisharts.com spanisharts.com Descanso en la Huída a Egipto Pintado: 1510. The work of David is extremely accomplished and popular, although conservative and somewhat bland. Most of his work was of traditional religious themes, which has been copied several times by others. In this same painting we find two Virgin Marys, impliyng two stages in time, one is in the background on a donkey accompanied by St Joseph, the other being the same in the foreground feeding her child. You also may notice that the positions of the Virgins are exact opposites. TITIAN 1487/90-1576 Click on the image for biography. spanisharts.com spanisharts.com Emperor Charles V in Mühlberg (El Emperador Carlos V en Mühlberg) Painted: 1548. ORIGINAL SIZE: 3,32/2,79 m This portrait commemorates the battle of Mühlberg, which took place against the protestant troops of John Frederick of Saxony. Titian, the painter of courtesan grandeur, took inspiration from classic antiquity for the equestrian arrangement of this piece. It presents the Emperor of the Holy Roman-Germanic Empire as a sublime symbol of power. He uses the technique of painting in heavy, dark colours, emphasizing the harsh and noble character of this person. Undoubtedly, a masterpiece from the Venetian school. Roberto Bueno Bachelor of Art History Titian Click on the image to enlarge Titian Click on the image to enlarge Empress Isabel (Emperatriz Isabel) Painted: 1548. ORIGINAL SIZE: 1,17/0,98 m She was the wife of Charles V and mother of Philip II. Titian expresses the imperial dignity of this Infanta of Portugal through the splendour of her garments and the objects which adorn her. We can see the meticulous detail in the ornaments in this portrait The face shows sadness and appears expressionless. The bust is based on other portraits of this character which gives the picture a certain agelessness. In the background, there is a window opened onto a landscape where Titian tries to balance the aesthetic feeling of the scene. Roberto Bueno Bachelor of Art History Charles V (Carlos V) Painted: 1533. ORIGINAL SIZE: 1,92/1,11 m This is a portrait which must be studied in order to observe its evolution as it is the last of the so-called "aparato" portraits - solemn and oppulent. It shows the figure of the standing Emperor, a serene and calm image which contrasts with the worried expression of his face which bears him a great phsycological load. What stands out in this scene are the Emperor´s suit and the dog, which denotes the social category to which the character belongs. Roberto Bueno Bachelor of Art History Titian Click on the image to enlarge Titian Click on the image to enlarge Danae receiving the Golden Rain (Danae recibiendo la lluvia de oro) Painted: 1553. ORIGINAL SIZE: 1,92/1,11 m Titian painted this picture, commissioned by Philip II, when he was seventy seven years old. It represents the myth of Jupiter being converted into a shower of gold in order to visit Venus in her bedroom. Danae´s body appears in the foreground, naked and lying on a bed. Her legs are open and bent, her hands resting on the pillow, and her thigh and head slightly tilted. # Dutch baroque artist, Rembrandt Harmenszoon van Rijn was born in Leiden. Son of a miller, his parents took great care with his education. He soon began to study art, first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman. Rembrandt returned to Leiden, where he took his first pupils at the age of 22. He moved to Amsterdam in 1631; his marriage in 1634 to Saskia van Uylenburgh enhanced his career, bringing him in contact with people who eagerly commissioned portraits, while his studio was filled with pupils. But Rembrandt's family life was marked by misfortune: three of his four children and his wife dead between 1635 and 1642. Hendrickje Stoffels, his housekeeper from 1649 became his common-law wife and was the model for many of his pictures. His way of living forced him to declare bankruptcy later in 1656. However, these problems didn't affected the painter's work. He had a profound understanding of human nature that was demonstrated by a brilliant technique—not only in painting but in drawing and etching—and his work (more than 600 paintings as well as a large number of drawings and etchings) made an enormous impact on his contemporaries and on many later artists. After Hendrickje's death in 1663, and his son's in 1668, on October 1669, Rembrandt died in Amsterdam. in Naples till his death in 1652. # Rembrandt´s pictures: Click on the image to enlarge Artemisa Rembrandt, Artemisia, 1634, 1,42 x 1,53, Museo del Prado, Madrid. With comments The Anatomy Lecture of Dr. Nicolaes Tulp Rembrandt, The Anatomy Lecture of Dr. Nicolaes Tulp, 1632, 1,695 x 2,165 m., Oil on canvas, Mauritshuis, The Hague. Self-Portrait Rembrandt, Self-Portrait with Lace Collar, 1629, 0,377 x 0,28 m., Oil on canvas, Mauritshuis, The Hague. The Sacrifice of Abraham Rembrandt, The Sacrifice of Abraham, 1635, 1,93 x 1,33 m., Oil on canvas, The Hermitage, St. Petersburg. Portrait of Jeremiah Becker Rembrandt, Portrait of Jeremiah Becker, 1666, 0,71 x 0,56 m., Oil on canvas, The Hermitage, St. Petersburg. Danae Rembrandt, Danae, 1636, 1,65 x 2,03 m., Oil on canvas, The Hermitage, St. Petersburg. David and Uriah Rembrandt, David and Uriah, 1665, 1,27 x 1,17 m., Oil on canvas, The Hermitage, St. Petersburg. Deposition from the Cross Rembrandt, Descent from the Cross, 1634, 1,58 x 1,17 m., Oil on canvas,The Hermitage, St. Petersburg . Scholar Rembrandt, Scholar, 1631, 1,045 x 0,92 m., Oil on canvas,The Hermitage, St. Petersburg. The Return of the Prodigal Son Rembrandt, The Return of the Prodigal Son, 1669, 2,62 x 2,06 m., Oil on canvas, The Hermitage, St. Petersburg. The Holy Family with Angels Rembrandt, The Holy Family with Angels, 1647, 1,17 x 0,91 m., Oil on canvas, The Hermitage, St. Petersburg. Self-Portrait Rembrandt, Self-Portrait, 1629, 0,155 x 0,125 m., Oil on panel, Alte Pinakothek, Munich. Adoration of the Shepherds Rembrandt, Adoration of the Shepherds, 1646, 0,97 x 0,715 m., Oil on canvas, Alte Pinakothek, Munich. Descent from the Cross Rembrandt, Descent from the Cross, 1634, 0,895 x 0,65 m., Oil on canvas,Alte Pinakothek, Munich. Holy Family Rembrandt, Holy Family, 1630, 1,83 x 1,23 m., Oil on canvas, Alte Pinakothek, Munich. Suzanna in the Bath Rembrandt, Suzanna in the Bath, 1647, 0,76 x 0,91 m., Oil on panel, Staatliche Museen, Berlin. Self-Portrait Rembrandt, Self-Portrait, 1669, 0,86 x 0,705 m., Oil on canvas, English Heritage, National Gallery, London. Belshazzar's Feast Rembrandt, Belshazzar's Feast, 1635, 1,68 x 2,09 m., Oil on canvas, National Gallery, London. Hendrickje Bathing in a River Rembrandt, Hendrickje Bathing in a River, 1654, 0,618 x 0,47 m., Oil on panel, National Gallery, London. Christ and the Woman Taken in Adultery Rembrandt, Christ and the Woman Taken in Adultery, 1644, 0,838 x 0,654 m., Oil on wood, National Gallery, London. Frederick Rihel on Horseback Rembrandt, Frederick Rihel on Horseback, 1663, 2,82 x 2,48 m., Oil on canvas, National Gallery, London . The Artist's Son Titus Rembrandt, The Artist's Son Titus, 1657, 0,685 x 0,57 m., Oil on canvas, Wallace Collection, London. Self-Portrait Rembrandt, Self-Portrait, 1661, 1,14 x 0,94 m., Oil on canvas, English Heritage, Kenwood House, London. Self-Portrait Rembrandt, Self-Portrait, 1659, 0,845 x 0,66 m., Oil on canvas, National Gallery of Art, Washington. The Mill Rembrandt, The Mill, 1650, 0,875 x 1,055 m., Oil on canvas, National Gallery of Art, Washington. Aristotle with a Bust of Homer Rembrandt, Aristotle with a Bust of Homer, 1653, 1,435 x 1,365 m., Oil on canvas,Metropolitan Museum of Art, New York. Self-Portrait Rembrandt, Self-Portrait, 1660, 0,805 x 0,675 m., Oil on canvas, Metropolitan Museum of Art, New York. Self-Portrait Rembrandt, Self-Portrait, 1658, 1,335 x 0,104 m., Oil on canvas, rick Collection, New York. Portrait of Nicolaes Ruts Rembrandt, Portrait of Nicolaes Ruts, 1631, 1,85 x 0,885 m., Oil on panel, Frick Collection, New York. The Artist in his Studio Rembrandt, The Artist in his Studio, 1627, 0,25 x 0,32 m., Oil on canvas,Museum of Fine Arts, Boston. The Raising of Lazarus Rembrandt, The Raising of Lazarus, 1630, 0,962 x 0,815 m., Oil on panel, Los Angeles County Museum of Art, Los Angeles. Supper at Emmaus Rembrandt, Supper at Emmaus , 1648, 0,42 x 0,60 m., Oil on canvas, Musée du Louvre, Paris. Philosopher in Meditation Rembrandt, Philosopher in Meditation, 1632, 0,28 x 0,34 m., Oil on canvas, Musée du Louvre, Paris. Evangelist Matthew Rembrandt, Evangelist Matthew, 1661, 0,96 x 0,81 m., Oil on canvas, Musée du Louvre, Paris. Holy Family Rembrandt, Holy Family, 1640, 0,41 x 0,34 m., Oil on wood, Musée du Louvre, Paris. Balaam's Ass Rembrandt, Balaam's Ass, 1666, 0,63 x 0,465 m., Oil on panel, Musée Cognacq-Jay, Paris. The Nightwatch Rembrandt, The Nightwatch, 1642, 3,63 x 4,37 m., Oil on canvas, Rijksmuseum, Amsterdam. Sampling Officials of the Drapers' Guild Rembrandt, Sampling Officials of the Drapers' Guild, 1662, 1,915 x 2,79 m., Oil on canvas, Rijksmuseum, Amsterdam. Peter Denouncing Christ Rembrandt, Peter Denouncing Christ, 1660, 1,54 x 1,69 m., Oil on canvas, Rijksmuseum, Amsterdam. Old Rabbi Rembrandt, Old Rabbi, 1642, Oil on wood, Museum of Fine Arts, Budapest. Self-Portrait Rembrandt, Self-Portrait as a Young Man, 1634, 0,61 x 0,52 m., Oil on canvas, Galleria degli Uffizi, Florence. Man in a Golden Helmet Rembrandt, Man in a Golden Helmet, 1650, 0,675 x 0,507 m., Oil on canvas, Staatliche Museen, Berlin. The Conspiration of the Bataves Rembrandt, The Conspiration of the Bataves, 1662, 1,96 x 3,09 m., Oil on canvas, Nationalmuseum, Stockholm. Family Group Rembrandt, Family Group, 1667, 1,26 x 1,67 m., Oil on canvas, Herzog Anton Ulrich-Museum, Braunschweig. The Incredulity of St Thomas Rembrandt, The Incredulity of St Thomas, 1633, 0,53 x 0,51 m., Oil on canvas, Pushkin Museum, Moscow. Jacob blessing the children of Joseph Rembrandt, Jacob blessing the children of Joseph, 1656, 1,755 x 2,105 m., Oil on canvas, Staatliche Museen, Kassel. Jacob blessing the children of Joseph Rembrandt, Jeremiah Lamenting the Destruction of Jerusalem, 1630, 0,583 x ,466 m., Oil on panel, Rijksmuseum, Amsterdam. Apostle Paul Rembrandt, Apostle Paul, 1635, 1,35 x 1,11 m., Oil on canvas, Kunsthistorisches Museum, Vienna. Stormy Landscape Rembrandt, Stormy Landscape, 1638, 0,52 x 0,72 m., Oil on wood, Herzog Anton-Ulrich-Museum, Braunschweig. Holy Family Rembrandt, The Blinding of Samson, 1636, 2,36 x 3,02 m., Oil on canvas, Städelsches Kunstinstitut, Frankfurt. The Blinding of Samson Rembrandt, Portrait of Saskia with a Flower, 1641, 0,985 x 0,825 m., Oil on wood, Gemäldegalerie, Dresden. Saul and David Rembrandt, Saul and David, 1659, 1,30 x 1,64 m., Oil on canvas, Mauritshuis, The Hague.