#museo del prado

[lionofchaeronea]

The Earth, Maerten de Vos (1532-1603)

[lostincitylight]

Caravaggio at the Prado Museum, Madrid.

[didoofcarthage]

Offering to Ceres by Jacob Jordaens

Flemish, c. 1620

oil on canvas

Museo del Prado

[sictransitgloriamvndi]

[life-imitates-art-far-more]

Salvador Viniegra (1862-1915) "The First kiss of Adam and Eve" (1891) Located in the Museo Del Prado, Madrid, Spain

[collectionstilllife]

Luis Egidio Meléndez (Spanish, 1716–1780) • Still Life with Green Olives and Jar • 1760 • Museo del Prado, Madrid

[fashionlandscapeblog]

Miguel Blay y Fábrega

Eclosión, 1905

[mythologypaintings]

Diana the Huntress

Artist:Juan Bautista Martínez del Mazo (Spanish, c.1612-1667) (Copy after: Peter Paul Rubens)

Date: 17th century

Medium: Oil on canvas

Collection: Museo Nacional del Prado, Madrid, Spain

Description

Diana the Huntress is the Roman goddess of hunting and the wild animals, and is often depicted in art and literature. She is also associated with the moon, fertility, and childbirth

[tragediambulante]

Justice and peace, Corrado Giaquinto, 1753-54

[artandthebible]

Noli Me Tangere

Artist: Correggio (Antonio Allegri) Italian, 1489-1534

Genre: Religious Art

Date: c. 1525

Medium: Oil on Canvas

Collection: Museo del Prado, Madrid, Spain

Description

The scene is taken from events narrated near the end of the Gospel of John, in which Mary Magdalene returns to Jesus' tomb after having found the body missing. There, in her sorrow, she is greeted by two angels and then by Christ himself.

"And as she wept, she stooped down, and looked into the sepulchre, and seeth two angels in white sitting, the one at the head, and the other at the feet, where the body of Jesus had lain. And they say unto her, Woman, why weepest thou? She saith unto them. Because they have taken away my Lord, and I know not where they have laid him. And when she had thus said, she turned herself back, and saw Jesus standing, and knew not that it was Jesus. Jesus saith unto her, Woman, why weepest thou? whom seekest thou? She, supposing him to be the gardener, saith unto him, Sir, if thou have borne him hence, tell me where thou hast laid him, and I will take him away. Jesus saith unto her, Mary. She turned herself, and saith unto him, Rabboni; which is to say, Master. Jesus saith unto her, Touch me not; for I am not yet ascended to my Father: but go to my brethren, and say unto them, I ascend unto my Father, and your Father; and to my God, and your God." ~ John 20:11–⁠17 KJV

[lionofchaeronea]

Roman Athletes, Aniello Falcone, ca. 1640

[galleryofart]

Los Zancos (The Stilts)

Artist: Francisco Goya y Lucientes (Spanish, 1746–1828)

Date: 1791-1792

Medium: Oil on canvas

Collection: Museo del Prado, Madrid, Spain

Description

Two young men on high stilts head toward a window out of which a young woman leans. They are accompanied by two other young men on foot, playing the dulzaina. Groups of men wrapped in their capes and with broad-brimmed hats completely covering their faces, as well as women and children, contemplate the festive scene. As in many other works from this period, a simple, everyday subject contrasts with a deeper theme. Here, the stiltwalkers' effort to avoid falling and their gallantry with the lady in the window are a means of denouncing the struggle to survive that period's difficult social conditions. This cartoon was for one of the tapestries intended for Carlos IV's office at El Escorial .

[didoofcarthage]

Ceres and Pan, attributed to the workshop of Peter Paul Rubens and Frans Synders

Flemish, c. 1620

oil on canvas

Museo del Prado

[allegorypaintings]

Allegory of Peace and Justice

Artist: Corrado Giaquinto (Italian, 1703-1766)

Date: 1753-1754

Medium: Oil on canvas

Collection: Museo Nacional del Prado, Madrid, Spain

Description

This allegorical work, signed on the column lying on the ground in the center of the composition, shows two women in Roman garb sitting on clouds. Representing Justice and Peace, they embrace and seem about to kiss each other. This pictorial motif could be used to express political peace or, as is the case here, to allude to the peaceful policies that characterized the reign of Ferdinand VI , for whom this work was painted. It also relates to Psalm 85, which announces eternal peace between God and humankind, or salvation, implying the warning that peace should be consolidated on earth as well: Mercy and truth are met together; righteousness and peace have kissed each other. Truth shall spring out of the earth; and righteousness shall look down from heaven. Yea, the Lord shall give that which is good; and our land shall yield her increase. Righteousness shall go before him; and shall set us in the way of his steps.

Justice manifests his great authority with a crown and sceptre. She is also inspired by Divine Justice, symbolized by the white dove of the Holy Ghost . The customary attributes alluding to Justice's most essential characteristics are also present, including the ostrich, whose symmetrical feathers signify fairness, and a fasces and a column, which symbolize severity and fortitude, at her feet. Her sword evokes the separation of good from evil, an act also associated with the scales lying on the ground. The prone figure surrounded by pieces of armor represents discord or war, which has been dutifully vanquished by Justice. It is also the target of one of Cupid's arrows, which is stored in a box and symbolizes reconciliation. The god of love is accompanied by two other cherubs who operate a bellows in front of the Temple of Peace , fanning the flames that will be used to burn the armor.

Peace bears an olive branch, transmitting the idea that it is the result of Justice, which leads to the well-being symbolized by a horn of plenty at her feet, and by the wheat and fruit on the tree to the right being harvested by cherubs. The lion and the lamb, symbolizing meekness and strength, also allude to God's coming as announced by the Psalm 85. Specifically, these animals refer to the characterisations of Christ as the Lion of Judea and the Lamb of God that appear at the beginning of the Book of the Seven Seals that marks the beginning of the Last Judgment and the establishment of Paradise . With this combination of secular allegory and religious references, Giaquinto sought to ennoble the reign of Ferdinand VI by comparing it to the Kingdom of God .

[life-imitates-art-far-more]

Luis Egidio Meléndez (1716-1780) "Still life with watermelons and apples in a landscape" Oil on canvas Located in the Museo del Prado, Madrid, Spain

[theacadominique]

Portrait of Mariana of Austria Diego Velázquez 1652–1653 Oil on canvas 234.2 cm × 131.5 cm Museo del Prado (on loan at Norton Simon Museum)

Saint Cecilia Guido Reni 1606 Oil on canvas 95.9 x 74.9 cm Norton Simon Museum