Loading...
This is a painting of rather mediocre quality for which the artists drew on several ricordi from the stock at the family bottega. To cite an example, the horse and pair of dogs on the right specifically repeat the ones that appear in a similar position in Adam Being Reprimanded (P21). This juxtaposition of standardised models explains the obvious problems of scale in the depiction of the animals,
A painter and teacher, Fernanda Francés enjoyed success and public recognition in the Spain of the Restoration. Specialising in flower painting and still lifes, and supported by clear critical acclaim, she won a second-class medal for this work at the 1890 National Exhibition. The profound realism of her art attracted a broad private clientele who kept her works in demand for several decade
The composition derives from a lost work by Leonardo repeated by Yáñez on two other occasions with some variants. Here he includes a chalice and a consecrated Host, a Eucharistic reference that enjoyed a lengthy tradition in Spanish and particularly Valencian art. The emphasis on anatomical definition, subtle colour and a unifying light are characteristic of the artist at this period
The woman seated at the back of the carriage is an open allusion to the famous parricide immortalised by Sorolla in his painting Another Marguerite!! (Saint Louis, Missouri, Kemper Art Museum). With a repressed expression that evidences a certain guilt, the young woman looks at the wet nurse in the foreground, one of those women who were subsidised by the State to nurse the children in foundling h
It is a tapestry cartoon intended for the ‘silverware room in the king’s apartment’ within El Pardo Palace. It depicts the unloading of a war ammunition convoy accompanied by soldiers. In this painting, the artist imitated the style of Philips Wouwerman.
It is a tapestry cartoon intended for the ‘silverware room in the king’s apartment’ within El Pardo Palace. It depicts the march of a vast army towards a fortress in the background, directed by a noble captain on a white horse and accompanied by his wife and son. In this painting, the artist imitated the style of Philips Wouwerman.
The Bassanos’s studio specialized in the serial production of small works for private devotion based on the great composition by the head of the family, Jacopo. The Burial of Christ, painted on slate, is an example of this type. The paint losses are due to the surface of the slate being excessively polished before painting.
This painting is among the few known works from Berruguete’s formative years in Florence and Rome, the latter depicted in the background. The bridle bit, the hand on the breast and the laurel wreath allude to the subjugation of the instincts by reason and temperament.
According to Ovid, the marriage of Hippodamia to Pirithous sparked a mythical battle between their kinsmen, the lapiths and the centaurs. This theme appealed to artists as symbolising the battle between the passions and the intellect. Tegeo echoed the classicism of the Bolognese School in this painting, regarded as his finest neoclassical composition. It belonged to the Prince of Anglona, the seco
This canvas is one of a group of portraits collected by María Luisa de Orleans (1662-1689), first wife of Carlos II of Spain, which would become part of the Royal Collection. Some of these paintings must have decorated the Queen´s Gallery in the Alcázar (Madrid), a representation space where the Queen launched a decorative and iconographic program of exaltation of her dynasty. Others
This is the first rough sketch prior to the definitive preparatory piece (now at the Diputación de Palencia) of the picture held by the Museo del Prado (P5728). It shows the king Ferdinand IV of Castile on his deathbed, where he is confronted by the apparition of the brothers Juan and Pedro de Carvajal, unjustly executed by order of the monarch one month earlier, and said to have summoned h
This is a traditional representation of Mount Calvary with Christ on the Cross, Mary and Saint John in front of a landscape. This sacred scene is accompanied by four standing saints: two male saints, Saint Jerome and Saint James the Great on the left; and two female saints, Saint Mary Magdalene and Saint Catherine on the right. In addition, a family of kneeling donors is depicted in the foreground
The painter Carlota Rosales was the second daughter of Eduardo Rosales (1836-1873) and the only one to survive him. She received training from her godfather Vicente Palmaroli (1834-1896) and in 1887 became the first woman to receive a pension to join the Real Academia de España en Roma (Spanish Royal Academy in Rome). This pension consisted of 8,000 reales and was extraordinarily granted by
The execution of this portrait and the details of the figure’s clothing place this work within the orbit of portraits in the Italian regions of Emilia and Lombardy during 1650-1700. It is particularly close to the corpus of effigies that, up until a few years ago, were attributed to the Milanese painter Pier Francesco Cittadini (1616–1681). According to the most recent research on this artist, he
&imagen=https%3a%2f%2fcontent3.cdnprado.net%2fimagenes%2fDocumentos%2fimgsem%2f9f%2f9fc1%2f9fc15630-c6d5-4f11-8851-6fbc929e1e8c%2fba41e3c4-0e4c-4b0a-990a-45dfbfb96ebc_268.jpg&idobra=9fc15630-c6d5-4f11-8851-6fbc929e1e8c){kind=link}
