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Portrait of Philip Emmanuel of Savoy, c.1604, Oil on Canvas

ighted in Pantoja’s subtle expressiveness, mastery of minutia, and thematic clarity. Philip Emmanuel is at once regal, adolescent, and slightly mysterious.

Santa Catalina, c.1620, Oil on Canvas

ntial within the Madrid court. Vicente painted religious matter while introducing naturalism into his works of art, as seen here with Saint Catalian.

Portrait of a Young Catalina Micaela, c.1580, Oil on Canvas

perpendicular relief to the otherwise vertical composition.

The Good Shepherd, c.1660, Oil on Canvas

Murillo’s talent for capturing a child’s essence on the canvas, whether street beggar, flower girl, or the young Savior.

The Infant Christ and Saint John the Baptist with a Shell, c.1670, Oil on Canvas

s holds a scallop shell for his cousin to drink, the shell used by John to anoint, according to tradition.

Equestrian Portrait of Philip III, c.1635, Oil on Canvas

e in the horse’s head, upper body, and harness.

Classical Italian Interiors

ppearance of a rather bloodthirsty "St. James" at the mythic battle between Muslim Moors and Christian Spaniards. This remastered, Mixed-Media painting is well suited for Classical Italian Interiors everywhere.

Newport Beach Interior Design

nter for William VIII, ruler of the tiny state of Hesse-Kassel. Here ancient two gods are re-imagined with grace and flair. This remastered, Mixed-Media painting is ideal for Newport Beach Interior Designers.

Prince Don Carlos of Austria, c.1558, Oil on Canvas

s legs were of different length. The unfortunate Habsburg was the subject of a Schiller play, which in turn inspired a Verdi opera.

Infanta Margarita Teresa in a Blue Dress, c.1659, Oil on Canvas

the artist. This portrait of the young Infant Margarita is perhaps one of Valazquez's most famous paintings.

Unknown Man thought to be Don Quixote de la Mancha, c.1630, Oil on Canvas

the subject is the fading knight Don Quixote, of Cervantes’s timeless satirical novel, published less than twenty years before this artwork’s likely creation.

Saint Michael and the Dragon, c.1405, Oil on Panel

rtist is somewhat constrained by this established color scheme, given the battleground is heaven.

An Offering to Flora, c.1627, Oil on Canvas

ls. This allegory of Flora blooms with masterfully-drawn flowers and boasts a well-executed composition animated with earthy pigments.

The Fruiterers, c.1650, Oil on Canvas

y desired, Espinosa avoided a cold Mannerism and stayed within the emotionalism of Caravaggio, using illumination to create a dramatic shadow in his devotional motifs.

The Recapture of San Juan in Puerto Rico, c.1635, Oil on Canvas

ga and Luis Fernández is dissimilar to his early Mannerism or later naturalism.

The Relief of Genoa by the II Marquis of Santa Cruz, c.1635, Oil on Canvas

rant colors, elegant design, and exceptionally evocative depictions make it an entertaining battle scene and stirring propaganda.

The Consecration of St Augustine, c.1470, Tempera on Panel

ions, and clothes Augustine, Bishop of Hippo and other figures in contemporary church garments.

The Baptism of Christ, c.1655, Oil on Canvas

a warmth and sentimentality does not take away from the flawless sense of color and adept brushstrokes that characterize the composition.

Relief of Constanza Square, c.1634, Oil on Canvas

of Feria and last able general of the Spanish realm, eternal life in this and similar works that graced the palace halls of the King of Spain.

Saint Anne Teaching the Virgin to Read, c.1655, Oil on Canvas

central figure of Mary, whose soft features glow with purity.

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