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                  <text>&lt;p&gt;Pinturas y grabados inspirados en la tradici&amp;oacute;n de &lt;em&gt;La Celestina&lt;/em&gt;&amp;nbsp;&lt;/p&gt;&#13;
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                <text> El santo oficio o La Inquisición, de Goya (1820, c.)</text>
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                <text>Metodo mitxo en mural transferido a lienzo.&#13;
Este cuadro está en exhibición en el Museo del Prado, en la colleción de "pinturas negras", la descripción del cuadro previsto por el museo en la exhibición describe a las mujeres dibujadas como "vestido de la manera de las viejas alcahuetas."</text>
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                <text>Museo del Prado, Madrid &lt;br /&gt;&lt;a href="https://www.museodelprado.es/coleccion/obra-de-arte/el-santo-oficio/00d854fa-9279-477b-b82d-219602d3f3a1"&gt;https://www.museodelprado.es/coleccion/obra-de-arte/el-santo-oficio/00d854fa-9279-477b-b82d-219602d3f3a1&lt;/a&gt;&lt;br /&gt; &lt;br /&gt;&lt;span&gt;Archivado en:&lt;/span&gt;&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200608150555/https://www.museodelprado.es/coleccion/obra-de-arte/el-santo-oficio/00d854fa-9279-477b-b82d-219602d3f3a1"&gt;https://web.archive.org/web/20200608150555/https://www.museodelprado.es/coleccion/obra-de-arte/el-santo-oficio/00d854fa-9279-477b-b82d-219602d3f3a1&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;Foto usada encontrada en el sitio:&amp;nbsp;&lt;a href="http://pasionpormadrid.blogspot.com.es/2012/05/peregrinacion-la-fuente-de-san-isidro.html"&gt;http://pasionpormadrid.blogspot.com.es/2012/05/peregrinacion-la-fuente-de-san-isidro.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200608151341/https://www.pasionpormadrid.com/2012/05/peregrinacion-la-fuente-de-san-isidro.html"&gt;https://web.archive.org/web/20200608151341/https://www.pasionpormadrid.com/2012/05/peregrinacion-la-fuente-de-san-isidro.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;N&amp;uacute;mero de inventario:&amp;nbsp;&lt;span&gt;P000755&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;</text>
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                <text>Técnica mixta sobre revestimiento mural, trasladada a lienzo. &#13;
Dimensiones: 127 × 266 cm</text>
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                <text>Dibujo de tinta en papel, 24,5 x 32 cm. Alcahueta y cliente rico junto a muchacha joven desnuda que se cubre los ojos</text>
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                <text>&lt;span&gt;Museu d'Art Moder, Tarragona, obra no expuesta, MAMT NIG: 984&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://www.dipta.cat/mamt/colleccio/obres/horrors-duna-guerra-pura-mercancia"&gt;https://www.dipta.cat/mamt/colleccio/obres/horrors-duna-guerra-pura-mercancia&lt;/a&gt;</text>
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                <text>Vogel, Hermann (1856-1918)</text>
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                <text>Wikimedia Commons:&lt;br /&gt;&lt;a href="https://commons.wikimedia.org/wiki/File:Hermann_Vogel_Gef%C3%A4llt_Sie_ihnen.jpg"&gt;https://commons.wikimedia.org/wiki/File:Hermann_Vogel_Gef%C3%A4llt_Sie_ihnen.jpg&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200915231708/https://commons.wikimedia.org/wiki/File:Hermann_Vogel_Gef%C3%A4llt_Sie_ihnen.jpg"&gt;https://web.archive.org/web/20200915231708/https://commons.wikimedia.org/wiki/File:Hermann_Vogel_Gef%C3%A4llt_Sie_ihnen.jpg&lt;/a&gt;</text>
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                <text>¿Le gusta a usted?, de Vogel (1900, c.)</text>
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                <text>Título original: Gefällt sie Ihnen? ("¿Le gusta a usted?").&#13;
&#13;
Esta obra representa una escena con tema celestinesco. En ella aparece un hombre, una mujer joven desnuda y una mujer vieja que actúa como alcahueta de la joven. </text>
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                    <text>¿Quien es más rendido? de Goya, 1799</text>
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                <text>Galeria Nacional de Arte, Washington, EEUU &lt;br /&gt;&lt;a href="https://www.nga.gov/collection/art-object-page.7452.html"&gt;https://www.nga.gov/collection/art-object-page.7452.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200609194908/https://www.nga.gov/collection/art-object-page.7452.html"&gt;https://web.archive.org/web/20200609194908/https://www.nga.gov/collection/art-object-page.7452.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Encontrado en www.artsy.net. El 14 de febrero 2017.&lt;br /&gt;&lt;a href="https://www.artsy.net/artwork/francisco-de-goya-quien-mas-rendido-which-of-them-is-the-more-overcome"&gt;https://www.artsy.net/artwork/francisco-de-goya-quien-mas-rendido-which-of-them-is-the-more-overcome&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;Archivado en:&amp;nbsp;&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200609193937/https://www.artsy.net/artwork/francisco-de-goya-quien-mas-rendido-which-of-them-is-the-more-overcome"&gt;https://web.archive.org/web/20200609193937/https://www.artsy.net/artwork/francisco-de-goya-quien-mas-rendido-which-of-them-is-the-more-overcome&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;N&amp;uacute;mero de inventario:&amp;nbsp;&lt;span&gt;1943.3.4711.aa&lt;/span&gt;&lt;/span&gt;</text>
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                <text>Aguafuerte, aguatinta y punta seca.&#13;
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                <text>Web de autor &lt;a href="http://www.gustavom.com/english/2D/gal2dpin2.html"&gt;http://www.gustavom.com/english/2D/gal2dpin2.html&lt;/a&gt;</text>
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                <text>Encontrado en la página web MutualArt:&lt;br /&gt;&lt;a href="https://www.mutualart.com/Artwork/PROCURESS/9C5B10F2E339E6EE"&gt;https://www.mutualart.com/Artwork/PROCURESS/9C5B10F2E339E6EE&lt;/a&gt;</text>
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                <text>En la imagen aparece un joven mirando al espectador y una mujer mirándolo a él. Por el título de la obra se puede intuir que la mujer representa a una alcahueta. </text>
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                <text>La imagen representa una escena de exterior donde hombres y mujeres jóvenes aparecen en una terraza. Dos de los hombres tocan instrumentos musicales. Nótese la mujer vieja que aparece en la ventana de la derecha mirando la escena con la cabeza cubierta siguiendo la tradición celestinesca que puede tratarse de la alcahueta de las jóvenes. </text>
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                <text>La imagen muestra una escena de exterior donde hombres y mujeres jóvenes aparecen alrededor de una mesa en una terraza. Nótese la mujer vieja que aparece en el centro con la cabeza cubierta siguiendo la tradición celestinesca que puede tratarse de la alcahueta de las jóvenes.</text>
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                <text>Escena inspirada en la tradición del hijo pródigo. Influencias de Caravaggio. &lt;br /&gt;&lt;br /&gt;"La pintura de género de Honthorst se relaciona con el tema retratado por su compañero Utrecht Caravaggisti. Representa una escena provocativa de un estudiante desenfrenado (¿el hijo pródigo?) en compañía de dos prostitutas y una alcahueta que lleva un bebé. Las páginas de un inmenso folio abierto sobre la mesa están brillantemente iluminadas por la luz de las velas, al igual que el torso semidesnudo de la prostituta tocando el theorbo. Una de las páginas ilustra a un hombre mayor y un niño desnudo, probablemente Cupido, golpeando a una mujer que sostiene un libro grande. La página opuesta muestra un poema en latín." (Descripción traducida de&amp;nbsp;la&amp;nbsp;Galería de Arte de la Web,&amp;nbsp;&lt;a href="https://www.wga.hu/html_m/h/honthors/2/03prodig.html"&gt;https://www.wga.hu/html_m/h/honthors/2/03prodig.html&lt;/a&gt;&lt;span&gt;,&amp;nbsp;Archivado en:&amp;nbsp;&lt;/span&gt;&lt;a href="https://web.archive.org/web/20200605160008/https://www.wga.hu/html_m/h/honthors/2/03prodig.html"&gt;https://web.archive.org/web/20200605160008/https://www.wga.hu/html_m/h/honthors/2/03prodig.html&lt;/a&gt;&lt;span&gt;&lt;span&gt;)&lt;br /&gt;&lt;br /&gt;Otro título: &lt;/span&gt;&lt;/span&gt;Der liederliche Student</text>
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                <text>&lt;span&gt;Bayerische Staatsgemäldesammlungen - Alte Pinakothek München, Alemania&lt;br /&gt;&lt;a href="https://www.sammlung.pinakothek.de/en/artwork/wq4jXaELWo"&gt;https://www.sammlung.pinakothek.de/en/artwork/wq4jXaELWo&lt;/a&gt;&amp;nbsp;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20210610192218/https://www.sammlung.pinakothek.de/en/artwork/wq4jXaELWo/gerard-van-honthorst/der-liederliche-student"&gt;https://web.archive.org/web/20210610192218/https://www.sammlung.pinakothek.de/en/artwork/wq4jXaELWo/gerard-van-honthorst/der-liederliche-student&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;Número de inventorio: &lt;span&gt;391&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Encontrado en la Galería de Arte de la Web:&lt;br /&gt;&lt;a href="http://www.wga.hu/html_m/h/honthors/2/03prodig.html"&gt;http://www.wga.hu/html_m/h/honthors/2/03prodig.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200605160008/https://www.wga.hu/html_m/h/honthors/2/03prodig.html"&gt;https://web.archive.org/web/20200605160008/https://www.wga.hu/html_m/h/honthors/2/03prodig.html&lt;/a&gt;</text>
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                <text>Óleo sobre lienzo. &#13;
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&#13;
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                <text>Encontrado en www.artnet.com. El 8 de Noviembre 2016.&amp;nbsp;&lt;a href="http://www.artnet.com/artists/gerrit-van-honthorst/old-woman-counting-money-allegory-of-avarice-KOrD4hAJhQ7hBq27N1miRg2"&gt;http://www.artnet.com/artists/gerrit-van-honthorst/old-woman-counting-money-allegory-of-avarice-KOrD4hAJhQ7hBq27N1miRg2&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200609165459/http://www.artnet.com/artists/gerrit-van-honthorst/old-woman-counting-money-allegory-of-avarice-KOrD4hAJhQ7hBq27N1miRg2"&gt;https://web.archive.org/web/20200609165459/http://www.artnet.com/artists/gerrit-van-honthorst/old-woman-counting-money-allegory-of-avarice-KOrD4hAJhQ7hBq27N1miRg2&lt;/a&gt;</text>
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                <text>Museo del Romanticismo, Madrid. Foto del cuadro encontrado el 23 de junio 2016 en: www.madridvillaycorte.es. &lt;br /&gt;&lt;a href="http://www.madridvillaycorte.es/pst_ermita-puerto-2012.php"&gt;http://www.madridvillaycorte.es/pst_ermita-puerto-2012.php&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20120628134749/http://www.madridvillaycorte.es/pst_ermita-puerto-2012.php"&gt;https://web.archive.org/web/20120628134749/http://www.madridvillaycorte.es/pst_ermita-puerto-2012.php&lt;/a&gt;</text>
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                <text>Colección privada.&lt;br /&gt;&lt;br /&gt;&lt;span&gt;Encontrado en la página web&amp;nbsp;&lt;/span&gt;&lt;span&gt;Essential Vermeer 3.0:&lt;/span&gt;&lt;br /&gt;&lt;a href="http://www.essentialvermeer.com/related_vermeer_paintings/procuress.html"&gt;http://www.essentialvermeer.com/related_vermeer_paintings/procuress.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;Archivado en:&lt;/span&gt;&lt;br /&gt;&lt;a href="https://web.archive.org/web/20210424170312/http://www.essentialvermeer.com/related_vermeer_paintings/procuress.html"&gt;https://web.archive.org/web/20210424170312/http://www.essentialvermeer.com/related_vermeer_paintings/procuress.html&lt;/a&gt;</text>
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                <text>&lt;span&gt;Imagen 1:&lt;br /&gt;Museo de Bellas Artes de Córdoba, España&lt;/span&gt;&lt;br /&gt;&lt;span&gt;Encontrado en www.ceres.mcu.es:&lt;/span&gt;&lt;br /&gt;&lt;a href="http://ceres.mcu.es/pages/Viewer?accion=4&amp;amp;AMuseo=MBACO&amp;amp;Ninv=CE0015G"&gt;http://ceres.mcu.es/pages/Viewer?accion=4&amp;amp;AMuseo=MBACO&amp;amp;Ninv=CE0015G&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;Archivado en:&lt;/span&gt;&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200624230423/http://ceres.mcu.es/pages/Viewer?accion=4&amp;amp;AMuseo=MBACO&amp;amp;Ninv=CE0015G"&gt;https://web.archive.org/web/20200624230423/http://ceres.mcu.es/pages/Viewer?accion=4&amp;amp;AMuseo=MBACO&amp;amp;Ninv=CE0015G&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;Número de inventario:&amp;nbsp;&lt;span&gt;CE0015G&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;También disponible en Wikimedia Commons:&lt;/span&gt;&lt;br /&gt;&lt;a href="https://commons.wikimedia.org/wiki/File:Museo_del_Prado_-_Goya_-_Caprichos_-_No._15_-_Bellos_consejos.jpg"&gt;https://commons.wikimedia.org/wiki/File:Museo_del_Prado_-_Goya_-_Caprichos_-_No._15_-_Bellos_consejos.jpg&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200624230439/https://commons.wikimedia.org/wiki/File:Museo_del_Prado_-_Goya_-_Caprichos_-_No._15_-_Bellos_consejos.jpg"&gt;https://web.archive.org/web/20200624230439/https://commons.wikimedia.org/wiki/File:Museo_del_Prado_-_Goya_-_Caprichos_-_No._15_-_Bellos_consejos.jpg&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Imagen 2:&lt;br /&gt;Museo del Prado, Madrid, España.&lt;br /&gt;&lt;br /&gt;Encontrado en Wikipedia&lt;br /&gt;&lt;a href="https://es.wikipedia.org/wiki/Bellos_consejos"&gt;https://es.wikipedia.org/wiki/Bellos_consejos&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20150627080944/https://es.wikipedia.org/wiki/Bellos_consejos"&gt;https://web.archive.org/web/20150627080944/https://es.wikipedia.org/wiki/Bellos_consejos&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Wikimedia Commons&lt;br /&gt;&lt;a href="https://commons.wikimedia.org/wiki/File:Bellos_consejos.jpg"&gt;https://commons.wikimedia.org/wiki/File:Bellos_consejos.jpg&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20130518121818/https://commons.wikimedia.org/wiki/File:Bellos_consejos.jpg"&gt;https://web.archive.org/web/20130518121818/https://commons.wikimedia.org/wiki/File:Bellos_consejos.jpg&lt;/a&gt;&lt;br /&gt;&lt;/span&gt;</text>
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                <text>Imagen 1:&#13;
Aguafuerte, aguatinta bruñida sobre papel verjurado, ahuesado.&#13;
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&#13;
Imagen 2:&#13;
Aguatinta.&#13;
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                <text>Una mujer joven sentada en una silla. Una mujer vieja a su lado la mira. &lt;br /&gt;&lt;br /&gt;&lt;span&gt;Aguafuerte de la serie&amp;nbsp;&lt;/span&gt;&lt;em&gt;Los&lt;/em&gt;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;em&gt;Caprichos&lt;/em&gt;&lt;span&gt;&amp;nbsp;número 15.&lt;/span&gt;&lt;br /&gt;&lt;span&gt;De Wikiepedia&amp;nbsp;&lt;/span&gt;&lt;a href="https://es.wikipedia.org/wiki/Bellos_consejos"&gt;https://es.wikipedia.org/wiki/Bellos_consejos&lt;/a&gt;&lt;br /&gt;&lt;span&gt;"Explicación de esta estampa del manuscrito del Museo del Prado: Los consejos son dignos de quien los da. Lo peor es que la señorita va a seguirlos al pie de la letra. ¡Desdichado del que se acerque!.&lt;/span&gt;&lt;br /&gt;&lt;span&gt;2 Manuscrito de Ayala: Idem, salvo el final: Desdichado de aquel que cargue con ella.&lt;/span&gt;&lt;br /&gt;&lt;span&gt;Manuscrito de la Biblioteca Nacional: Las madres suelen ser alcahuetas de sus mismas hijas llevándolas a aciertos paseos y concurrencias."&lt;/span&gt;</text>
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                <text>Betsabé en su baño, de Rembrandt (1654)</text>
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                <text>Rembrandt, Harmensz. van Rijn (1606-1669)</text>
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                <text>Museo de Louvre, Paris, Francia:&lt;br /&gt;&lt;a href="https://collections.louvre.fr/en/ark:/53355/cl010060453"&gt;https://collections.louvre.fr/en/ark:/53355/cl010060453&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20080509074453/http://www.louvre.fr/llv/oeuvres/detail_notice.jsp?CONTENT%3C%3Ecnt_id=10134198673225939&amp;amp;CURRENT_LLV_NOTICE%3C%3Ecnt_id=10134198673225939&amp;amp;FOLDER%3C%3Efolder_id=9852723696500813&amp;amp;fromDept=true&amp;amp;baseIndex=157&amp;amp;bmUID=1189640367439&amp;amp;bmLocale=en"&gt;https://web.archive.org/web/20080509074453/http://www.louvre.fr/llv/oeuvres/detail_notice.jsp?CONTENT%3C%3Ecnt_id=10134198673225939&amp;amp;CURRENT_LLV_NOTICE%3C%3Ecnt_id=10134198673225939&amp;amp;FOLDER%3C%3Efolder_id=9852723696500813&amp;amp;fromDept=true&amp;amp;baseIndex=157&amp;amp;bmUID=1189640367439&amp;amp;bmLocale=en&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Wikimedia commons:&lt;br /&gt;&lt;a href="https://en.wikipedia.org/wiki/File:Rembrandt_Harmensz._van_Rijn_016.jpg"&gt;https://en.wikipedia.org/wiki/File:Rembrandt_Harmensz._van_Rijn_016.jpg&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20161223204616/https://en.wikipedia.org/wiki/File:Rembrandt_Harmensz._van_Rijn_016.jpg"&gt;https://web.archive.org/web/20161223204616/https://en.wikipedia.org/wiki/File:Rembrandt_Harmensz._van_Rijn_016.jpg&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Número de &lt;span&gt;inventario&lt;/span&gt;:&amp;nbsp;&lt;span&gt;MI 957&lt;/span&gt;</text>
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                <text>Óleo sobre lienzo.&#13;
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                <text>En esta representación de Betsabé, Rembrandt la representa como una mujer joven desnuda sosteniendo una carta del Rey David. Bañando a la mujer joven, una mujer mayor inspirada en el personaje de la Celestina a la izquierda. &lt;br /&gt;&lt;br /&gt;Este tema también lo trata Picasso en Bethsabée (d'après Rembrandt 1966 OPP.66:017) y otras pinturas en las cuales representa a un personaje claramente inspirado en la Celestina.&amp;nbsp;Para más información consultar el enlace:&amp;nbsp;&lt;a href="https://www.newyorker.com/magazine/2007/03/26/rembrandts-ghost"&gt;https://www.newyorker.com/magazine/2007/03/26/rembrandts-ghost&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&amp;nbsp;&lt;br /&gt;&lt;a href="https://web.archive.org/web/20180830055810/https://www.newyorker.com/magazine/2007/03/26/rembrandts-ghost"&gt;https://web.archive.org/web/20180830055810/https://www.newyorker.com/magazine/2007/03/26/rembrandts-ghost&lt;/a&gt;</text>
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                <text>Esta imagen de Rembrandt está relacionada con el grabado&amp;nbsp;&lt;a href="http://celestinavisual.org/items/show/1167"&gt;&lt;span&gt;Bien tirada está, de Goya (1797, c.)&lt;/span&gt;&lt;/a&gt;</text>
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                <text>A pesar del tema bíblico está tratada como escena de género en que una joven recibe una alcahueta con una misiva.</text>
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                <text>Colecci&amp;oacute;n privada, Pa&amp;iacute;se Bajos&amp;nbsp;&lt;br /&gt;Encontrado en Art Experts www.artexpertswebsite.com:&lt;br /&gt;&lt;a href="https://www.artexpertswebsite.com/artist/steen/"&gt;https://www.artexpertswebsite.com/artist/steen/&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200625174510/https://www.artexpertswebsite.com/artist/steen/"&gt;https://web.archive.org/web/20200625174510/https://www.artexpertswebsite.com/artist/steen/&lt;/a&gt;</text>
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                <text>&lt;span&gt;Centro de apoyo a la investigación, de la Fundación Juan March:&lt;br /&gt;&lt;a href="https://abnopac.march.es/abnopac/abnetcl.exe?TITN=200298"&gt;https://abnopac.march.es/abnopac/abnetcl.exe?TITN=200298&lt;/a&gt;: enlace inactivo en marzo de 2026&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20221203200607/https://abnopac.march.es/abnopac/abnetcl.exe?TITN=200298"&gt;https://web.archive.org/web/20221203200607/https://abnopac.march.es/abnopac/abnetcl.exe?TITN=200298&lt;/a&gt;&lt;br /&gt;&lt;/span&gt;</text>
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                <text>&lt;span&gt;Caricatura&amp;nbsp;&lt;/span&gt;&lt;span&gt;que aparece en la&amp;nbsp;&lt;/span&gt;&lt;span&gt;Crítica teatral de "La Celestina" adaptada por Gonzalo Torrente Ballester y dirigida por Adolfo Marsillach en &lt;em&gt;ABC&lt;/em&gt;, Madrid titulada "Otra versión de "La Celestina" en el Centro Dramático Nacional", de&amp;nbsp;&lt;/span&gt;&lt;span&gt;Lorenzo&amp;nbsp;&lt;/span&gt;&lt;span&gt;López Sancho, el 19 de abril de 1988.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;En la caricatura aparecen Calixto y Melibea acompañados de Celestina. Celestina aparece sentada mirando a la pareja y con la cabeza tapada siguiendo la tradición celestinesca.&lt;/span&gt;</text>
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                <text>&lt;span&gt;Centro de apoyo a la investigación, de la Fundación Juan March:&lt;br /&gt;&lt;a href="https://abnopac.march.es/abnopac/abnetcl.exe?TITN=160173"&gt;https://abnopac.march.es/abnopac/abnetcl.exe?TITN=160173&lt;/a&gt;&lt;br /&gt;&lt;/span&gt;&lt;br /&gt;&lt;span&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20221202023908/https://abnopac.march.es/abnopac/abnetcl.exe?TITN=160173"&gt;https://web.archive.org/web/20221202023908/https://abnopac.march.es/abnopac/abnetcl.exe?TITN=160173&lt;/a&gt;&lt;/span&gt;</text>
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                <text>Caricatura &lt;span&gt;que aparece en la&amp;nbsp;&lt;/span&gt;&lt;span&gt;Crítica teatral de "La Celestina" adaptada por Camilo José Cela y dirigida por José&amp;nbsp;Tamayo en&amp;nbsp;&lt;em&gt;ABC&lt;/em&gt;, Madrid titulada "Una gran versión literaria de "La Celestina"", de &lt;/span&gt;Lorenzo &lt;span&gt;López Sancho, el 4 de febrero de 1978.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;Debajo de la caricatura aparecen los nombres del adaptador, director y cinco de los actores de la representación (Camilo José Cela, José Tamayo, Terele Pávez,&amp;nbsp;&lt;/span&gt;Teresa Rabal, &lt;span&gt;I&lt;/span&gt;&lt;span&gt;rene Gutiérrez Caba, Joaquín Kremel y Paco Guijar). Puede que las caricaturas correspondan a las figuras de la representación. Nótese a la figura que representa a Celestina en el centro, que aparece con arrugas visibles en la cara y la cabeza tapada siguiendo la tradición celestinesca.&lt;/span&gt;</text>
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                <text>"The Mascot", 21&amp;nbsp;mayo, 1892.&lt;br /&gt;Encontrado en Flickr www.flickr.com. El 21 de Febrero 2017.&lt;br /&gt;&lt;a href="https://www.flickr.com/photos/infrogmation/3960449032"&gt;https://www.flickr.com/photos/infrogmation/3960449032&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20190129130639/https://www.flickr.com/photos/infrogmation/3960449032/"&gt;https://web.archive.org/web/20190129130639/https://www.flickr.com/photos/infrogmation/3960449032/&lt;/a&gt;</text>
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                <text>Una caricatura en la publicaci&amp;oacute;n peri&amp;oacute;dica &lt;em&gt;The Mascot&lt;/em&gt; de la infame regente de burdel de Nueva Orleans Emma Johnson como un pulpo que captura a los inocentes viandantes. Debajo escrito en ingl&amp;eacute;s "lewd and abandoned" (lujuriosa y abandonada).&lt;br /&gt;Aunque no hay ninguna conexi&amp;oacute;n directa con &lt;em&gt;La Celestina&lt;/em&gt;, es curiosa esta representaci&amp;oacute;n con tent&amp;aacute;culos que recuerda la famosa triada hilado, cord&amp;oacute;n y cadena de Celestina y su manera de atrapar a sus v&amp;iacute;ctimas. V&amp;eacute;ase el art&amp;iacute;culo cl&amp;aacute;sico de Alan Deyermond,"Hilado-Cord&amp;oacute;n-Cadena: Symbolic Equivalence in&lt;em&gt; La Celestina,&lt;/em&gt;" &lt;em&gt;Celestinesca&lt;/em&gt; 1 (1977):1-12&lt;br /&gt;&lt;a href="http://parnaseo.uv.es/Celestinesca/Numeros/1977/VOL%201/NUM%201/1_articulo1.pdf"&gt;http://parnaseo.uv.es/Celestinesca/Numeros/1977/VOL%201/NUM%201/1_articulo1.pdf&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20180430123417/http://parnaseo.uv.es/Celestinesca/Numeros/1977/VOL%201/NUM%201/1_articulo1.pdf"&gt;https://web.archive.org/web/20180430123417/http://parnaseo.uv.es/Celestinesca/Numeros/1977/VOL%201/NUM%201/1_articulo1.pdf&lt;/a&gt;</text>
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                <text>M&amp;aacute;s informaci&amp;oacute;n sobre Emma Johnson en:&amp;nbsp;&lt;br /&gt;&lt;a href="http://www.storyvilledistrictnola.com/madams.html"&gt;http://www.storyvilledistrictnola.com/madams.html&lt;br /&gt;&lt;br /&gt;&lt;/a&gt;Archivado en:&amp;nbsp;&lt;br /&gt;&lt;a href="http://web.archive.org/web/20160209111442/http://www.storyvilledistrictnola.com/madams.html"&gt;http://web.archive.org/web/20160209111442/http://www.storyvilledistrictnola.com/madams.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;</text>
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                <text>Unos jóvenes sentados fuera de una casa. El joven le coge de la mano a la joven mientras se pone una mano en el corazón. En la puerta de la casa, una mujer vieja mirándolos. </text>
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                <text>Unknown Provenance.&lt;br /&gt;Encontrado en el sitio www.auctionclub.com el 29 de Agosto 2016. &lt;a href="https://www.auctionclub.com/public/historic/artur-degner-28022/girl-with-matchmaker-9817706/"&gt;https://www.auctionclub.com/public/historic/artur-degner-28022/girl-with-matchmaker-9817706/&lt;/a&gt;</text>
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                <text>Parte de la serie de los caprichos de Francisco de Goya. Aguafuerte y aguatinta en papel.</text>
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                <text>Coleccion particular, Barcelona&lt;br /&gt;Encontrado en:&lt;br /&gt;&lt;a href="https://www.liveinternet.ru/users/truskovalent/post396206014/"&gt;https://www.liveinternet.ru/users/truskovalent/post396206014/&lt;br /&gt;&lt;br /&gt;&lt;/a&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200611145649/https://www.liveinternet.ru/users/truskovalent/post396206014/"&gt;https://web.archive.org/web/20200611145649/https://www.liveinternet.ru/users/truskovalent/post396206014/&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Vease&amp;nbsp;&lt;span&gt;Jiménez, Lozano J.&amp;nbsp;&lt;/span&gt;&lt;em&gt;El Jardín De Melibea&lt;/em&gt;&lt;span&gt;. Madrid: Sociedad estatal para la conmemoración de los centenarios de Felipe II y Carlos V, 2000. pg. 360&lt;/span&gt;</text>
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                <text>El título moralizante oculta el hecho de que el hombre no tiene ningun relación paternal con la chica. Siguiendo el Museo de Philadelphia, un mirador la época entendería muy bien que los sujetos del cuadro son una alcahueta, su protegida y un probable cliente.</text>
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                <text>Museo de Arte de Philadelphia, Philadelphia, Estados Unidos. El 26 de Octubre 2016. &lt;br /&gt;&lt;a href="https://www.philamuseum.org/collections/permanent/17630.html?mulR=788485204|5"&gt;https://www.philamuseum.org/collections/permanent/17630.html?mulR=788485204|5&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200619204617/https://www.philamuseum.org/collections/permanent/17630.html?mulR=788485204|5"&gt;https://web.archive.org/web/20200619204617/https://www.philamuseum.org/collections/permanent/17630.html?mulR=788485204|5&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;N&amp;uacute;mero de inventario:&amp;nbsp;&lt;/span&gt;&lt;span&gt;1985-52-35441&lt;/span&gt;</text>
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                <text>El Museo de Arte de Cleveland, Estados Unidos:&lt;br /&gt;&lt;a href="https://www.clevelandart.org/art/1967.167"&gt;https://www.clevelandart.org/art/1967.167&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20220812034734/https://www.clevelandart.org/art/1967.167"&gt;https://web.archive.org/web/20220812034734/https://www.clevelandart.org/art/1967.167&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Número de inventario: &lt;span&gt;1967.167&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;También en:&lt;br /&gt;&lt;a href="https://archive.org/details/clevelandart-1967.167-conversation-ludovic"&gt;https://archive.org/details/clevelandart-1967.167-conversation-ludovic&lt;/a&gt;</text>
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                <text>&lt;p&gt;La ilustración es parte de una serie de más de 30 monotipos que Degas hizo para &lt;em&gt;La Famille Cardinal&lt;/em&gt;, de&amp;nbsp;Ludovic Halévy. &lt;br /&gt;Descripción del libro y de la ilustración:&amp;nbsp;&lt;br /&gt;"Las historias satíricas giran en torno a dos jóvenes bailarinas de la Ópera, Pauline y Virginie Cardinal, y su madre alcahueta. A fines del siglo XIX en París, el ballet era la profesión de niñas y mujeres jóvenes de clase baja que estaban disponibles para el alquiler sexual. Aquí, en la escena inicial, Halévy, el narrador en primera persona, se encuentra con Madame Cardinal en los coulisses (alas) de la Ópera para concertar una cita privada con una de sus hijas. Las bailarinas, cuya disponibilidad sexual es el subtexto de la composición, están notoriamente ausentes." (&lt;span&gt;Descripción traducida de &lt;/span&gt;El Museo de Arte de Cleveland:&lt;a href="https://www.clevelandart.org/art/1967.167"&gt; https://www.clevelandart.org/art/1967.167&lt;/a&gt;, Archivado en:&lt;a href="https://web.archive.org/web/20220812034734/https://www.clevelandart.org/art/1967.167"&gt; https://web.archive.org/web/20220812034734/https://www.clevelandart.org/art/1967.167&lt;/a&gt;)&lt;/p&gt;</text>
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                <text>Una joven vuelve la vista hacia otro lado mientras la alcahueta le muestra una joya. La alcahueta tiene una bolsa de dinero en la mano. El perro, que hace contacto visual con el espectador, ocupa el lugar del cliente que es típico en estos cuadros.</text>
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                <text>&lt;p class="LC20lb DKV0Md"&gt;&lt;span&gt;Colecciones de Pintura del Estado B&amp;aacute;varo (&lt;/span&gt;Bayerische Staatsgem&amp;auml;ldesammlungen), M&amp;uacute;nich, Alemania&lt;br /&gt;&lt;a href="http://www.the-athenaeum.org/art/detail.php?ID=48598"&gt;http://www.the-athenaeum.org/art/detail.php?ID=48598&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200115043001/http://www.the-athenaeum.org/art/detail.php?ID=48598"&gt;https://web.archive.org/web/20200115043001/http://www.the-athenaeum.org/art/detail.php?ID=48598&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Wikioo:&lt;br /&gt;&lt;a href="https://wikioo.org/es/paintings.php?refarticle=8XX83T&amp;amp;titlepainting=Una+cortesana+con+Ella+alcahueta&amp;amp;artistname=Hans+Von+Aachen"&gt;https://wikioo.org/es/paintings.php?refarticle=8XX83T&amp;amp;titlepainting=Una+cortesana+con+Ella+alcahueta&amp;amp;artistname=Hans+Von+Aachen&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200626180746/https://wikioo.org/en/paintings.php?refarticle=8XX83T&amp;amp;titlepainting=A%20Courtesan%20with%20Her%20Procuress&amp;amp;artistname=Hans%20Von%20Aachen"&gt;https://web.archive.org/web/20200626180746/https://wikioo.org/en/paintings.php?refarticle=8XX83T&amp;amp;titlepainting=A%20Courtesan%20with%20Her%20Procuress&amp;amp;artistname=Hans%20Von%20Aachen&lt;/a&gt;&lt;/p&gt;</text>
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Oleo, 20 1/2 x 25 3/4 inches (52 x 65.5 cm)</text>
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                <text>Subastada en Doyle New York, 2018&lt;br /&gt;&lt;br /&gt;&lt;a href="https://www.invaluable.com/auction-lot/italian-caravaggesque-school-17th-18th-century-co-0AF4EA991F"&gt;https://www.invaluable.com/auction-lot/italian-caravaggesque-school-17th-18th-century-co-0AF4EA991F&lt;br /&gt;&lt;br /&gt;&lt;/a&gt;Archivado en&amp;nbsp;&lt;a href="https://web.archive.org/web/20181122222358/https://www.invaluable.com/auction-lot/italian-caravaggesque-school-17th-18th-century-co-0AF4EA991F"&gt;https://web.archive.org/web/20181122222358/https://www.invaluable.com/auction-lot/italian-caravaggesque-school-17th-18th-century-co-0AF4EA991F&lt;/a&gt;</text>
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                <text>Salió brevemente a la venta en todocoleccion.net en 2015 (ver archivo adjunto)</text>
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                <text>Kimbell Museo de Arte, Fort Worth, Texas, Estados Unidos&lt;br /&gt;&lt;a href="https://www.kimbellart.org/collection/ap-198418"&gt;https://www.kimbellart.org/collection/ap-198418&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200626182917/https://www.kimbellart.org/collection/ap-198418"&gt;https://web.archive.org/web/20200626182917/https://www.kimbellart.org/collection/ap-198418&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;N&amp;uacute;mero de inventario:&amp;nbsp;&lt;span&gt;AP 1984.18&lt;/span&gt;</text>
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                <text>Óleo sobre lienzo.&#13;
Dimensiones: 109.9 × 143.5 cm</text>
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                <text>&lt;p&gt;Casa Fabiola-Donación Mariano Bellver, Sevilla, España.&lt;br /&gt;&lt;br /&gt;Encontrado en Wikimedia Commons:&lt;br /&gt;&lt;a href="https://commons.wikimedia.org/wiki/File:Damitas_y_estudiantes,_Gonzalo_Bilbao_Mart%C3%ADnez.jpg"&gt;https://commons.wikimedia.org/wiki/File:Damitas_y_estudiantes,_Gonzalo_Bilbao_Mart%C3%ADnez.jpg&lt;/a&gt;&lt;/p&gt;</text>
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                <text>En la imagen aparecen tres jóvenes vestidas con trajes regionales en un parque de la ciudad de Sevilla (España). A la izquierda aparecen tres jóvenes mirándolas. Detrás de las jóvenes aparece una mujer vieja con la cabeza cubierta a modo de celestina hablando con un jóven que mira a una de las jóvenes. La mujer vieja en este cuadro puede representar la alcahueta de las jóvenes. </text>
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                <text>Óleo sobre lienzo.&#13;
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&#13;
Otro título: Danae riceve la pioggia d'oro</text>
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                <text>Detalle de Las tentaciones de San Antonio, del Bosco (1501)</text>
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                <text>&lt;p&gt;Fragmento del panel izquierdo del tríptico&lt;em&gt; Las tentaciones de San Antonio.&lt;/em&gt; Nótese que este fragmento presenta varios personajes femeninos, como la mujer coronada con sombrero eclesiástico o la que se ve por la ventana y la que apenas se vislumbra en el interior, que se pueden interpretar como alcahuetas, como han hecho pintores seguidores del Bosco, como &lt;a href="/items/show/3161"&gt;Teniers.&lt;/a&gt;&amp;nbsp;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://commons.wikimedia.org/wiki/File:Jeroen_Bosch_(ca._1450-1516)_-_De_verzoeking_van_de_heilige_Antonius_(ca.1500)_-_Lissabon_Museu_Nacional_de_Arte_Antiga_19-10-2010_16-21-31.jpg"&gt;Cuadro completo&lt;br /&gt;&lt;/a&gt;&lt;/p&gt;&#13;
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                <text>Museu Nacional de Arte Antiga, Lisboa, Portugal.&lt;br /&gt;&lt;br /&gt;Cuadro completo&lt;span&gt;&amp;nbsp;en Wikimedia: &lt;a href="https://commons.wikimedia.org/wiki/File:Jeroen_Bosch_(ca._1450-1516)_-_De_verzoeking_van_de_heilige_Antonius_(ca.1500)_-_Lissabon_Museu_Nacional_de_Arte_Antiga_19-10-2010_16-21-31.jpg"&gt;https://commons.wikimedia.org/wiki/File:Jeroen_Bosch_(ca._1450-1516)_-_De_verzoeking_van_de_heilige_Antonius_(ca.1500)_-_Lissabon_Museu_Nacional_de_Arte_Antiga_19-10-2010_16-21-31.jpg&lt;/a&gt;&amp;nbsp;&lt;/span&gt;</text>
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                <text>&lt;span&gt;Dibujo de Canals para la revista &lt;em&gt;Luz: Periódico quincenal, arte moderno&lt;/em&gt;, no. 10, Barcelona, 15 de diciembre de 1898, página 111 (&lt;a href="https://arca.bnc.cat/arcabib_pro/ca/publicaciones/verNumero.do?idNumero=172345"&gt;https://arca.bnc.cat/arcabib_pro/ca/publicaciones/verNumero.do?idNumero=172345&lt;/a&gt;).&lt;br /&gt;&lt;br /&gt;Encontrado en el Arxiu de Revistes Catalanes Antigues, Biblioteca de Catalunya:&lt;br /&gt;&lt;a href="https://arca.bnc.cat/arcabib_pro/ca/catalogo_imagenes/grupo.do?path=1343870&amp;amp;presentacion=pagina&amp;amp;posicion=3&amp;amp;registrardownload=0"&gt;https://arca.bnc.cat/arcabib_pro/ca/catalogo_imagenes/grupo.do?path=1343870&amp;amp;presentacion=pagina&amp;amp;posicion=3&amp;amp;registrardownload=0&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20220306013212/https://arca.bnc.cat/arcabib_pro/ca/catalogo_imagenes/grupo.do?path=1343870&amp;amp;presentacion=pagina&amp;amp;posicion=3&amp;amp;registrardownload=0"&gt;https://web.archive.org/web/20220306013212/https://arca.bnc.cat/arcabib_pro/ca/catalogo_imagenes/grupo.do?path=1343870&amp;amp;presentacion=pagina&amp;amp;posicion=3&amp;amp;registrardownload=0&lt;/a&gt;&lt;br /&gt;&lt;/span&gt;</text>
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                <text>En la imagen aparecen varias mujeres: dos mujeres con sombreros, una mujer sin sombrero a la derecha y una mujer vieja en la parte de arriba a la derecha que recuerda a Celestina. La descripción de la obra de Canals que aparece en el artículo al lado de la imagen también parece aludir a la alcahueta:&lt;br /&gt;&lt;br /&gt;"Como sagrado centro de la malsana visión, un arqueado punto rojo, marca la diminuta boca y entre los grupos de indolentes cigarreras rueda como grasienta bola humana, la secular tía fingida, pobre dueña ó Celestina."</text>
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                <text>Museo del Prado, Madrid, Espa&amp;ntilde;a. &lt;br /&gt;&lt;br /&gt;Para m&amp;aacute;s informaci&amp;oacute;n, consulte al art&amp;iacute;culo de Dra. Rachel Schmidt: Celestinas y majas en la obra de Goya, Alenza y Lucas Vel&amp;aacute;squez. &lt;em&gt;Celestinesca,&lt;/em&gt; 39 (2015)&lt;span&gt;: 275-328. Figura 6, p. 309.&lt;/span&gt;&lt;br /&gt;&lt;a href="http://parnaseo.uv.es/Celestinesca/Celestinesca39/08_Schmidt_Rachel.pdf"&gt;http://parnaseo.uv.es/Celestinesca/Celestinesca39/08_Schmidt_Rachel.pdf&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;Archivado en:&lt;/span&gt;&lt;br /&gt;&lt;a href="https://web.archive.org/web/20180429075512/http://parnaseo.uv.es/Celestinesca/Celestinesca39/08_Schmidt_Rachel.pdf"&gt;https://web.archive.org/web/20180429075512/http://parnaseo.uv.es/Celestinesca/Celestinesca39/08_Schmidt_Rachel.pdf&lt;/a&gt;</text>
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                <text>Aguafuerte y aquatinta. &#13;
Dimensiones: 24.4 × 35.2 cm</text>
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                <text>Descripción del Museo de Bellas Artes de Boston (traducción): &#13;
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                <text>&lt;p id="firstHeading" class="firstHeading" lang="es"&gt;Museo de Bellas Artes de Boston, Estados Unidos&lt;br /&gt;&lt;a href="http://www.mfa.org/collections/object/don-juan-and-constance-30858"&gt;http://www.mfa.org/collections/object/don-juan-and-constance-30858&lt;/a&gt;&lt;/p&gt;&#13;
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Dimensiones: 70.5 × 59.4 cm (27 3/4 × 23 3/8 in.)</text>
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                  <text>&lt;p&gt;Pinturas y grabados inspirados en la tradici&amp;oacute;n de &lt;em&gt;La Celestina&lt;/em&gt;&amp;nbsp;&lt;/p&gt;&#13;
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                <text>Doña Paca y su prenda, de Soria Aedo (1943)</text>
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                <text>&lt;span&gt;Encontrado en la página web Francisco Soria Aedo&lt;/span&gt;: &lt;br /&gt;&lt;a href="http://www.soriaaedo.com/biografia.html"&gt;http://www.soriaaedo.com/biografia.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20181018005552/http://www.soriaaedo.com/biografia.html"&gt;https://web.archive.org/web/20181018005552/http://www.soriaaedo.com/biografia.html&lt;/a&gt;</text>
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                <text>Una mujer joven en el centro de la obra con un abanico. A la derecha una mujer vieja. A la izquierda dos hombres jóvenes, uno de ellos mirando a la mujer joven. </text>
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                <text>Desconocido. </text>
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                  <text>&lt;p&gt;Pinturas y grabados inspirados en la tradici&amp;oacute;n de &lt;em&gt;La Celestina&lt;/em&gt;&amp;nbsp;&lt;/p&gt;&#13;
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                <text>Doña Virtudes, grabado en la novela erótivs "La tristeza del Burde" (1913)</text>
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                <text>Grabado anónimo</text>
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                <text>Grabado en tinta en la novela corta &lt;em&gt;La tristeza del burdel&lt;/em&gt; de Emilio Carrere, en la colección de novelitas eróticaa El Cuento Galante. Muy interesante la descripción en el texto, s-p, del personaje: "Doña Virtudes tenía un magnifico perfil de agua fuerte grotesco, envuelta en su manto pardo, con su manteleta de azabache. Era viuda de un capitán, aunque bien podía titularse viuda de la guarnición y hasta del cabildo de la muy venerable ciudad de Burgos, donde pasó sus buenos años honrando á Dios y al rey en ayuntamiento con soldados y con canónigos. De su propio cuerpo, ella hizo cuanto pudo, tablajeria de amor y cuidaba á su niña, con toda su ciencia y su experiencia, para la honrada profesión de destripa faltriqueras y afloja-deseos, con verdadera unción sacerdotal. Pero la niña no salió castiza. Angela era un poco romántica; se ponia como una cereza oyendo las bellaquerías del burdel y recibia con vergüenza las monedas, después del sacrificio, en la alcoba pecadora. -¿Pero á quién habrá salido esta sosaina de criatura?-exclamaba llena de santa indignación doña Virtudes."</text>
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                <text>https://sicalipsis.humnet.ucla.edu/files/original/6215b0afd360c993d42cd8b07547e4b3.pdf</text>
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                <text>Sorgh, Hendrik Martenszoon (c. 1610-1670)</text>
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                <text>Galer&amp;iacute;a Nacional, Londres, Inglaterra. &lt;br /&gt;&lt;a href="http://www.nationalgallery.org.uk/paintings/hendrick-sorgh-two-lovers-at-table"&gt;http://www.nationalgallery.org.uk/paintings/hendrick-sorgh-two-lovers-at-table&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20150609070157/https://www.nationalgallery.org.uk/paintings/hendrick-sorgh-two-lovers-at-table"&gt;https://web.archive.org/web/20150609070157/https://www.nationalgallery.org.uk/paintings/hendrick-sorgh-two-lovers-at-table&lt;/a&gt;</text>
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                <text>Ocultada detrás de la puerta, una alcahueta o mujer vieja observa la interacción de la pareja. Podemos suponer que está calculando la cantidad de dinero que pueda sacar del muchacho por obtener los favores de la joven.</text>
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                <text>Óleo sobre roble. &#13;
Dimensiones: 26.4 × 36.4 cm</text>
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                <text>Romano, Giulio (Giulio Pippi) (c. 1499-1546)</text>
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                <text>"Esta pintura de&amp;nbsp;Giulio Romano es una narrativa visual de Alexander, su amante Roxanne y una vieja (o alcahueta). En la pintura, podemos ver a los dos amantes abrazándose a punto de intercambiar un tierno beso&amp;nbsp;mientras la vieja echa una ojeada, comprobando como la situación progresa, desde la esquina con sus llaves tintineantes. Los amantes se encuentran entrelazados en una mirada sensual de la que nada les puede liberar. La iconografía de esta pintura está llena de narrativa y una fuerza impulsora sensual. Mientras Roxanne intenta colocar las sábanas sobre su amante, Alexander la acerca recogiéndola con sus brazos perfectos y cuerpo idealizado. Las pantuflas en el banquillo y el batín cerca de la cama de los amantes le dan a la habitación una atmosfera apasionada reflejando el acalorado momento. Mientras los amantes se acercan, la espectadora casi puede escuchar el crujido de la cama de madera mientras se intercambian los pesos en ella y las sábanas arrugadas debajo de los cuerpos esculturales. Romano detalla casa momento sensorial de la escena desde los pliegues de las cortinas, hasta los mechones finos del pelo de Roxanne que flotan sobre el pecho de Alexander." (Texto traducido de:&amp;nbsp;&lt;a href="http://mossinthefur.tumblr.com/post/3708260344/due-amanti-giulio-romano-1523-this-painting-done"&gt;http://mossinthefur.tumblr.com/post/3708260344/due-amanti-giulio-romano-1523-this-painting-done&lt;/a&gt;)</text>
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                <text>The Hermitage Museum, St. Petersburg.&amp;nbsp;&lt;br /&gt;&lt;a href="https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/01.%20paintings/30438/!ut/p/z1/04_Sj9CPykssy0xPLMnMz0vMAfIjo8zi_R0dzQyNnQ28_J1NXQwc_YMCTIOc_dwNDE30w8EKDHAARwP9KGL041EQhd94L0IWAH1gVOTr7JuuH1WQWJKhm5mXlq8fYWCop1CQmJlXkpmXXqwfYWxgYmwBdEsUmmme3uZA00JMPfz9w5yNnE2gCvC4pyA3NKLKx8Mg01FREQAhGVnd/dz/d5/L2dBISEvZ0FBIS9nQSEh/?lng=en"&gt;https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/01.%20paintings/30438/!ut/p/z1/04_Sj9CPykssy0xPLMnMz0vMAfIjo8zi_R0dzQyNnQ28_J1NXQwc_YMCTIOc_dwNDE30w8EKDHAARwP9KGL041EQhd94L0IWAH1gVOTr7JuuH1WQWJKhm5mXlq8fYWCop1CQmJlXkpmXXqwfYWxgYmwBdEsUmmme3uZA00JMPfz9w5yNnE2gCvC4pyA3NKLKx8Mg01FREQAhGVnd/dz/d5/L2dBISEvZ0FBIS9nQSEh/?lng=en&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200423164406/https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/01.%20paintings/30438/%21ut/p/z1/04_Sj9CPykssy0xPLMnMz0vMAfIjo8zi_R0dzQyNnQ28_J1NXQwc_YMCTIOc_dwNDE30w8EKDHAARwP9KGL041EQhd94L0IWAH1gVOTr7JuuH1WQWJKhm5mXlq8fYWCop1CQmJlXkpmXXqwfYWxgYmwBdEsUmmme3uZA00JMPfz9w5yNnE2gCvC4pyA3NKLKx8Mg01FREQAhGVnd/dz/d5/L2dBISEvZ0FBIS9nQSEh/?lng=en"&gt;https://web.archive.org/web/20200423164406/https://www.hermitagemuseum.org/wps/portal/hermitage/digital-collection/01.%20paintings/30438/%21ut/p/z1/04_Sj9CPykssy0xPLMnMz0vMAfIjo8zi_R0dzQyNnQ28_J1NXQwc_YMCTIOc_dwNDE30w8EKDHAARwP9KGL041EQhd94L0IWAH1gVOTr7JuuH1WQWJKhm5mXlq8fYWCop1CQmJlXkpmXXqwfYWxgYmwBdEsUmmme3uZA00JMPfz9w5yNnE2gCvC4pyA3NKLKx8Mg01FREQAhGVnd/dz/d5/L2dBISEvZ0FBIS9nQSEh/?lng=en&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;Número de inventario: &lt;/span&gt;&lt;span&gt;ГЭ-223&lt;/span&gt;</text>
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                <text>&lt;span&gt;Título original: &lt;/span&gt;&lt;em&gt;Due donne alla finestra&lt;/em&gt;&lt;span&gt; ("&lt;em&gt;Dos mujeres en la ventana&lt;/em&gt;&lt;/span&gt;&lt;span&gt;").&lt;br /&gt;&lt;br /&gt;En la imagen hay dos mujeres en una ventana, una joven y una vieja. El cuadro probablemente esté inspirado en el cuadro&amp;nbsp;&lt;a href="http://celestinavisual.org/items/show/4"&gt;Dos mujeres en la ventana, de Murillo (1660, c.)&lt;/a&gt; aunque en este cuadro la mujer mayor es más vieja, se ha introducido un jarrón y cambiado los gestos de las mujeres. No está claro si se trata de una escena de prostitución ventanera.&lt;br /&gt;&lt;/span&gt;</text>
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                <text>Encontrado en la página web Artnet:&lt;br /&gt;&lt;a href="http://www.artnet.com/artists/pietro-bellotti/due-donne-alla-finestra-oLnHEVdGqG36a4b0irFiow2"&gt;http://www.artnet.com/artists/pietro-bellotti/due-donne-alla-finestra-oLnHEVdGqG36a4b0irFiow2&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20220603220344/http://www.artnet.com/artists/pietro-bellotti/due-donne-alla-finestra-oLnHEVdGqG36a4b0irFiow2"&gt;https://web.archive.org/web/20220603220344/http://www.artnet.com/artists/pietro-bellotti/due-donne-alla-finestra-oLnHEVdGqG36a4b0irFiow2&lt;/a&gt;</text>
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                <text>Galería Nacional de Arte, Washington D. C., Estados Unidos&lt;br /&gt;&lt;a href="https://www.nga.gov/collection/art-object-page.1185.html"&gt;https://www.nga.gov/collection/art-object-page.1185.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;A&lt;span&gt;rchivado en&lt;/span&gt;:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20191031044958/https://www.nga.gov/collection/art-object-page.1185.html"&gt;https://web.archive.org/web/20191031044958/https://www.nga.gov/collection/art-object-page.1185.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Wikipedia:&lt;br /&gt;&lt;a href="https://es.wikipedia.org/wiki/Mujeres_en_la_ventana"&gt;https://es.wikipedia.org/wiki/Mujeres_en_la_ventana&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;Número de inventario&lt;/span&gt;:&amp;nbsp;1942.9.46</text>
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                <text>"Dos parejas de enamorados en una taberna; una de las parejas está posicionada en plano frontal al lado de una chimenea a la derecha; la otra pareja se encuentra a la izquierda, girada hacia la derecha y en primer plano; una mujer se encuentra sosteniendo una jara a la izquierda del grabado; también se pueden observar cristales rotos, cartas de juego y una pipa en el suelo. c.1633-5 Grabado" (Descripción traducida del Catálogo del Museo Británico, &lt;a href="https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1602112&amp;amp;page=1&amp;amp;partId=1&amp;amp;searchText=AMOROUS%20LADYS%20OR%20TETE-A-TETE"&gt;https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1602112&amp;amp;page=1&amp;amp;partId=1&amp;amp;searchText=AMOROUS%20LADYS%20OR%20TETE-A-TETE&lt;/a&gt;, Archivado en: &lt;a href="https://web.archive.org/web/20210503145554/https://www.britishmuseum.org/collection/object/P_Sheepshanks-176"&gt;https://web.archive.org/web/20210503145554/https://www.britishmuseum.org/collection/object/P_Sheepshanks-176&lt;/a&gt;) &lt;br /&gt;&lt;br /&gt;Nótese la mujer a la izquierda.</text>
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                <text>Museo de Bellas Artes, Boston, Estados Unidos&lt;br /&gt;&lt;a href="http://www.mfa.org/collections/object/duchessa-di-montejasi-with-her-daughters-elena-and-camilla-397941"&gt;http://www.mfa.org/collections/object/duchessa-di-montejasi-with-her-daughters-elena-and-camilla-397941&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200625003054/https://collections.mfa.org/objects/397941"&gt;https://web.archive.org/web/20200625003054/https://collections.mfa.org/objects/397941&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;N&amp;uacute;mero de inventario:&amp;nbsp;&lt;span&gt;2003.250&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;</text>
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                <text>Aunque es un retrato, la disposici&amp;oacute;n de conjunto con la madre y las hijas de edad casadera recuerda algunas composiciones de alcahuetas o madamas y sus pupilas. &lt;br /&gt;&lt;br /&gt;"Este es el &amp;uacute;ltimo de los grandes retratos familiares de Degas. Tambi&amp;eacute;n se encuentra entre los m&amp;aacute;s sorprendentes. La representaci&amp;oacute;n de la t&amp;iacute;a Fanny del artista es sin adulaciones, delicadamente equilibrada entre austeridad y empat&amp;iacute;a. Su imagen frontal, est&amp;aacute;tica y enfocada contrasta con el porte animado de sus hijas, cuya sensaci&amp;oacute;n de movimiento se ve incrementada por la forma en que el artista pint&amp;oacute; y luego borr&amp;oacute; sus retratos." (Descripci&amp;oacute;n traducida del Museo de Bellas Artes, Boston, Estados Unidos,&amp;nbsp;&lt;a href="http://www.mfa.org/collections/object/duchessa-di-montejasi-with-her-daughters-elena-and-camilla-397941"&gt;http://www.mfa.org/collections/object/duchessa-di-montejasi-with-her-daughters-elena-and-camilla-397941&lt;/a&gt;, Archivado en:&amp;nbsp;&lt;a href="https://web.archive.org/web/20200625003054/https://collections.mfa.org/objects/397941"&gt;https://web.archive.org/web/20200625003054/https://collections.mfa.org/objects/397941&lt;/a&gt;)</text>
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                  <text>&lt;p&gt;Pinturas y grabados inspirados en la tradici&amp;oacute;n de &lt;em&gt;La Celestina&lt;/em&gt;&amp;nbsp;&lt;/p&gt;&#13;
&lt;em&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&lt;br /&gt;&lt;/em&gt;</text>
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                <text>El banquete, de Honthorst (1619, c.)</text>
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                <text>Honthorst, Gerrit van</text>
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                <text>1619, c.</text>
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                <text>"Honthorst's genre pictures of light-hearted gatherings had a great impact in Utrecht. He made such pictures while he was still in Italy. His Supper Party, painted during his last months in Italy, set a precedent for similar scenes done in the 1620s at Utrecht where artists favoured the erotic as well as the ascetic side of Baroque art. This is already evident in Honthorst's Supper Party where the person who covers the light has the effect of 'repoussoir': the large dark figure in the foreground causes, by contrast, the merrymakers behind him to recede in space, and thus enhances the illusion of depth. The second advantage is the vivid reflection of light thrown on the figures and, in particular, on their faces, which are painted in reddish-yellow colours. This helps Honthorst to overcome the harshness found in the work of other Caravaggio followers. " (descripción de la página web Web Gallery of Art: &lt;a href="http://www.wga.hu/html_m/h/honthors/1/05supper.html"&gt;http://www.wga.hu/html_m/h/honthors/1/05supper.html&lt;/a&gt;)</text>
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                <text>Galleria degli Uffizi, Florencia, Italia.&lt;br /&gt;&lt;br /&gt;Encontrado en la Web Gallery of Art: &lt;a href="http://www.wga.hu/html_m/h/honthors/1/05supper.html"&gt;http://www.wga.hu/html_m/h/honthors/1/05supper.html&lt;/a&gt;</text>
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                <text>Óleo sobre lienzo. &#13;
Dimensiones: 138 × 203 cm</text>
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                    <text>El caballero y la muerte, de Camprobín (1670 c.)</text>
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                  <text>Cuadros y grabados con alcahuetas</text>
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                  <text>&lt;p&gt;Pinturas y grabados inspirados en la tradici&amp;oacute;n de &lt;em&gt;La Celestina&lt;/em&gt;&amp;nbsp;&lt;/p&gt;&#13;
&lt;em&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&lt;br /&gt;&lt;/em&gt;</text>
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                <text>El caballero y la muerte, de Camprobín (1670, c.)</text>
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                <text>Camprobín, Pedro (atribuido a) (1605-1674)</text>
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                <text>1670, c. </text>
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                <text>La muerte, como una ¨tapada¨ llega a casa de un joven caballero, con todos los objetos propios de un hombre joven en la mesa. No es propiamente una alcahueta pero se conecta con el tema de prostitución por las costumbres de las prostitutas y a veces de las alcahuetas de ir tapadas.&lt;br /&gt;&lt;br /&gt;Bibliografía:&#13;
&lt;p&gt;Argüello&amp;nbsp; del&amp;nbsp; Canto,&amp;nbsp; Candelas:&amp;nbsp; “«Las&amp;nbsp; tapadas».&amp;nbsp; Una&amp;nbsp; propuesta&amp;nbsp; sobre&amp;nbsp; la&amp;nbsp; representación de la prostitución en la pintura del Siglo de Oro”, BSAA 83 (2017): 235- 252.&lt;br /&gt;&amp;nbsp;&lt;a href="https://revistas.uva.es/index.php/bsaaarte/article/view/1070/914"&gt;https://revistas.uva.es/index.php/bsaaarte/article/view/1070/914&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200611161746/https://revistas.uva.es/index.php/bsaaarte/article/view/1070/914"&gt;https://web.archive.org/web/20200611161746/https://revistas.uva.es/index.php/bsaaarte/article/view/1070/914&lt;/a&gt;&lt;/p&gt;</text>
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                <text>Colección Hospital de la Caridad, Sevilla, España&amp;nbsp;&lt;br /&gt;&lt;span&gt;Wikimedia Commons:&lt;br /&gt;&lt;a href="https://commons.wikimedia.org/wiki/File:Camprobin-el_caballero_y_la_muerte.jpg"&gt;https://commons.wikimedia.org/wiki/File:Camprobin-el_caballero_y_la_muerte.jpg&lt;/a&gt;&lt;br /&gt;&lt;/span&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200611162000/https://commons.wikimedia.org/wiki/File:Camprobin-el_caballero_y_la_muerte.jpg"&gt;https://web.archive.org/web/20200611162000/https://commons.wikimedia.org/wiki/File:Camprobin-el_caballero_y_la_muerte.jpg&lt;/a&gt;</text>
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                <text>Óleo sobre lienzo.</text>
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                  <text>&lt;p&gt;Pinturas y grabados inspirados en la tradici&amp;oacute;n de &lt;em&gt;La Celestina&lt;/em&gt;&amp;nbsp;&lt;/p&gt;&#13;
&lt;em&gt;&amp;nbsp;&amp;nbsp;&amp;nbsp;&amp;nbsp;&lt;br /&gt;&lt;/em&gt;</text>
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                <text>Díaz Domínguez, Ángel (1897-1952)</text>
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                <text>1916, c.</text>
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                <text>Cuadro de &lt;span&gt;&lt;span&gt;Díaz Domínguez presentado&amp;nbsp;&lt;/span&gt;&lt;/span&gt;en el Museo de Zaragoza &lt;span&gt;&lt;span&gt;en la inauguración de la exposición ‘Zuloaga y los artistas aragoneses’ en homenaje a Goya, el 13 de mayo de 1916. Ahora parte de la Colección Laborda/Lázaro.&lt;br /&gt;&lt;br /&gt;Encontrado en la página web de Heraldo, noticia de Eduardo Laborda (13/05/2021):&lt;br /&gt;&lt;a href="https://www.heraldo.es/noticias/ocio-y-cultura/2021/05/13/el-capricho-del-pintor-angel-diaz-dominguez-en-el-homenaje-a-zuloaga-de-1916-1491741.html"&gt;https://www.heraldo.es/noticias/ocio-y-cultura/2021/05/13/el-capricho-del-pintor-angel-diaz-dominguez-en-el-homenaje-a-zuloaga-de-1916-1491741.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20210513075046/https://www.heraldo.es/noticias/ocio-y-cultura/2021/05/13/el-capricho-del-pintor-angel-diaz-dominguez-en-el-homenaje-a-zuloaga-de-1916-1491741.html"&gt;https://web.archive.org/web/20210513075046/https://www.heraldo.es/noticias/ocio-y-cultura/2021/05/13/el-capricho-del-pintor-angel-diaz-dominguez-en-el-homenaje-a-zuloaga-de-1916-1491741.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;También encontrado en "Alcahuetas, ventaneras y majas de paseo: Imágenes de celestinas en la pintura de género española (1868-1931)&lt;em&gt;"&lt;/em&gt;, de Guillermo Juberías Gracia, &lt;em&gt;Celestinesca&lt;/em&gt;, Vol. 47, (2023): pp. 229-271. (&lt;a id="pub-id::doi" href="https://doi.org/10.7203/Celestinesca.47.26741"&gt;https://doi.org/10.7203/Celestinesca.47.26741&lt;/a&gt;):&lt;br /&gt;&lt;/span&gt;&lt;/span&gt;&#13;
&lt;div data-canvas-width="335.37854688532616"&gt;&lt;a href="https://ojs.uv.es/index.php/celestinesca/article/view/26741/23608"&gt;https://ojs.uv.es/index.php/celestinesca/article/view/26741/23608&lt;/a&gt;&lt;/div&gt;&#13;
&lt;span&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20231222193726/https://ojs.uv.es/index.php/celestinesca/article/view/26741/23608"&gt;https://web.archive.org/web/20231222193726/https://ojs.uv.es/index.php/celestinesca/article/view/26741/23608&lt;/a&gt;&lt;/span&gt;</text>
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                <text>En el cuadro aparecen tres figuras: en el centro, una joven con mantilla negra mirando al espectador, a la derecha aparece otra mujer con flores en la cabeza, sosteniendo un abanico y mirando a la joven. Por último, una mujer vieja con la cabeza tapada a modo de Celestina que puede actuar de alcahueta de la joven.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;La imagen también se comenta en &lt;span&gt;"&lt;/span&gt;Alcahuetas, ventaneras y majas de paseo: Imágenes de celestinas en la pintura de género española (1868-1931)&lt;em&gt;"&lt;/em&gt;, de Guillermo Juberías Gracia, &lt;em&gt;Celestinesca&lt;/em&gt;, Vol. 47, (2023): pp. 229-271. (&lt;a id="pub-id::doi" href="https://doi.org/10.7203/Celestinesca.47.26741"&gt;https://doi.org/10.7203/Celestinesca.47.26741&lt;/a&gt;):&lt;br /&gt;&#13;
&lt;div data-canvas-width="335.37854688532616"&gt;&lt;a href="https://ojs.uv.es/index.php/celestinesca/article/view/26741/23608"&gt;https://ojs.uv.es/index.php/celestinesca/article/view/26741/23608&lt;/a&gt;&lt;/div&gt;&#13;
&lt;span&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20231222193726/https://ojs.uv.es/index.php/celestinesca/article/view/26741/23608"&gt;https://web.archive.org/web/20231222193726/https://ojs.uv.es/index.php/celestinesca/article/view/26741/23608&lt;/a&gt;&lt;/span&gt;</text>
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                <text>El harén, de Picasso (1906)</text>
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                <text>Picasso, Pablo Ruiz (1881-1973)</text>
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                <text>Nótese la vieja con comida al fondo en la esquina.&#13;
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Título completo/ Otros títulos: Le harem, Nus roses, Figures roses</text>
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                <text>Museo de Arte de Cleveland, Ohio, EEUU&lt;br /&gt;&lt;a href="https://www.clevelandart.org/art/1958.45"&gt;https://www.clevelandart.org/art/1958.45&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20200222030341/https://www.clevelandart.org/art/1958.45"&gt;https://web.archive.org/web/20200222030341/https://www.clevelandart.org/art/1958.45&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Wikiart:&lt;br /&gt;&lt;a href="https://www.wikiart.org/en/pablo-picasso/the-harem-1906"&gt;https://www.wikiart.org/en/pablo-picasso/the-harem-1906&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20190414143059/https://www.wikiart.org/en/pablo-picasso/the-harem-1906#!/web/20190414143059mp_/https://www.wikiart.org/"&gt;https://web.archive.org/web/20190414143059/https://www.wikiart.org/en/pablo-picasso/the-harem-1906#!/web/20190414143059mp_/https://www.wikiart.org/&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;N&amp;uacute;mero de inventario&lt;/span&gt;:&amp;nbsp;1958.45&lt;br /&gt;&lt;br /&gt;&lt;span&gt;N&amp;uacute;meros de cat&amp;aacute;logos:&lt;/span&gt;&amp;nbsp;OPP.06:038; DB.XV:40; LD:274; P.I:1266; PP.06:073; Z.I:321</text>
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                <text>Óleo sobre lienzo.&#13;
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                <text>El hijo pródigo desperdiciando su dinero, de van de Passe el Viejo (1580, c.)</text>
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                <text>van de Passe el Viejo, Crispijn (c. 1564-1637)</text>
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                <text>Título original: De verloren zoon verkwist zijn geld ("El hijo pródigo desperdiciando su dinero").&#13;
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                <text>Museo Rijks, Paises Bajos.&lt;br /&gt;&lt;a href="https://www.rijksmuseum.nl/en/collection/RP-P-1894-A-18594C"&gt;https://www.rijksmuseum.nl/en/collection/RP-P-1894-A-18594C&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20191216073509/https://www.rijksmuseum.nl/nl/collectie/RP-P-1894-A-18594C"&gt;https://web.archive.org/web/20191216073509/https://www.rijksmuseum.nl/nl/collectie/RP-P-1894-A-18594C&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Identificador:&lt;br /&gt;&lt;a href="http://hdl.handle.net/10934/RM0001.COLLECT.161470"&gt;http://hdl.handle.net/10934/RM0001.COLLECT.161470&lt;/a&gt; ; &lt;span&gt;RP-P-1894-A-18594C&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Wikimedia Commons:&lt;br /&gt;&lt;a href="https://commons.wikimedia.org/wiki/File:De_verloren_zoon_verkwist_zijn_geld_Et_Venere_et_baccho_bona_decoquit_omnia_natus_(titel_op_object)_Gelijkenis_van_de_verloren_zoon_(serietitel),_RP-P-1894-A-18594C.jpg"&gt;https://commons.wikimedia.org/wiki/File:De_verloren_zoon_verkwist_zijn_geld_Et_Venere_et_baccho_bona_decoquit_omnia_natus_(titel_op_object)_Gelijkenis_van_de_verloren_zoon_(serietitel),_RP-P-1894-A-18594C.jpg&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20210318023402/https://commons.wikimedia.org/wiki/File:De_verloren_zoon_verkwist_zijn_geld_Et_Venere_et_baccho_bona_decoquit_omnia_natus_(titel_op_object)_Gelijkenis_van_de_verloren_zoon_(serietitel),_RP-P-1894-A-18594C.jpg"&gt;https://web.archive.org/web/20210318023402/https://commons.wikimedia.org/wiki/File:De_verloren_zoon_verkwist_zijn_geld_Et_Venere_et_baccho_bona_decoquit_omnia_natus_(titel_op_object)_Gelijkenis_van_de_verloren_zoon_(serietitel),_RP-P-1894-A-18594C.jpg&lt;/a&gt;</text>
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                <text>Grabado.&#13;
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        <name>El hijo prodigo/the prodigal son</name>
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                  <text>&lt;p&gt;Pinturas y grabados inspirados en la tradici&amp;oacute;n de &lt;em&gt;La Celestina&lt;/em&gt;&amp;nbsp;&lt;/p&gt;&#13;
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                <text>En el Museo &lt;span&gt;Rijks, Países Bajos&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;Encontrado en la página web &lt;span&gt;Essential Vermeer 3.0:&lt;/span&gt;&lt;br /&gt;&lt;a href="http://www.essentialvermeer.com/related_vermeer_paintings/procuress.html"&gt;http://www.essentialvermeer.com/related_vermeer_paintings/procuress.html&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Archivado en:&lt;br /&gt;&lt;a href="https://web.archive.org/web/20210424170312/http://www.essentialvermeer.com/related_vermeer_paintings/procuress.html"&gt;https://web.archive.org/web/20210424170312/http://www.essentialvermeer.com/related_vermeer_paintings/procuress.html&lt;/a&gt;</text>
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                <text>El hijo pródigo en un burdel, de anónimo (1580, c.)</text>
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                <text>Anónimo, siguiendo a Lucas van Leyden (1512–1583)</text>
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                <text>Grabado.&#13;
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                <text>El grabado muestra una escena de burdel donde se encuentra una joven sosteniendo la barbilla de un joven como seduciéndolo. A la derecha de la joven se encuentra una mujer vieja, actuando como alcahueta, y bebiendo de una copa de vino mientras un joven le da una bolsa en la mano. </text>
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                <text>Esta pintura representa la historia bíblica del hijo pródigo en la casa de las prostitutas. En en cuadro, mujeres jóvenes se mezclan con hombres alrededor de una mesa. A la derecha aparece una mujer vieja, actuando como alcahueta.</text>
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                <text>&lt;span&gt;Museo Mayer van den Bergh, Amberes&lt;/span&gt;&lt;span&gt;, Bélgica&lt;/span&gt;&lt;span&gt;.&lt;/span&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;Wikimedia Commons:&lt;/span&gt;&lt;br /&gt;&lt;a href="https://commons.wikimedia.org/wiki/File:Frans_Pourbus_the_Elder_Prodigal_Son.jpg"&gt;https://commons.wikimedia.org/wiki/File:Frans_Pourbus_the_Elder_Prodigal_Son.jpg&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;span&gt;Archivado en:&lt;/span&gt;&lt;br /&gt;&lt;a href="https://web.archive.org/web/20151129083456/https://commons.wikimedia.org/wiki/File:Frans_Pourbus_the_Elder_Prodigal_Son.jpg"&gt;https://web.archive.org/web/20151129083456/https://commons.wikimedia.org/wiki/File:Frans_Pourbus_the_Elder_Prodigal_Son.jpg&lt;/a&gt;</text>
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