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The Triumph of Saint John of God
Oil on canvas. 1740
Giaquinto, Corrado
The Triumph of Saint John of God
Oil on canvas. 1740
Giaquinto, Corrado

This is a study for a ceiling fresco in the Roman church of San Giovanni Calibita in the Fatebenefratelli hospital. Due to its beauty and monumentality it was used to decorate the sacristy in the Royal Palace in Madrid. The Portuguese Saint John of God (1495-1550) founded the Order of Hospitallers that bears his name. Here Giaquinto depicts his coronation by the Virgin, the saint in glory and his

Moses Striking Water from the Rock
Oil on canvas. 1743 - 1744
Giaquinto, Corrado
Moses Striking Water from the Rock
Oil on canvas. 1743 - 1744
Giaquinto, Corrado

Moses Striking Water from the Rock and The Bronze Serpent are related to frescos on the same subjects in the apse of the basilica of Santa Croce in Gerusalemme in Rome. Those decorations commissioned in 1743 by the procurer general of the Cistercians and abbot of Santa Croce, Raimondo Besozzi, were paid by Pope Benedict XIV. As was his custom, Giaquinto painted various versions of the compositions

The Brazen Serpent
Oil on canvas. 1743 - 1744
Giaquinto, Corrado
The Brazen Serpent
Oil on canvas. 1743 - 1744
Giaquinto, Corrado

Moses Striking Water from the Rock and The Bronze Serpent are related to frescos on the same subjects in the apse of the basilica of Santa Croce in Gerusalemme in Rome. Those decorations commissioned in 1743 by the procurer general of the Cistercians and abbot of Santa Croce, Raimondo Besozzi, were paid by Pope Benedict XIV. As was his custom, Giaquinto painted various versions of the compositions

Christ on the Route to Calvary
Oil on canvas. Ca. 1754
Giaquinto, Corrado
Christ on the Route to Calvary
Oil on canvas. Ca. 1754
Giaquinto, Corrado

Obra perteneciente a una serie para el oratorio del Rey, en el Palacio del Buen Retiro. En ella vemos a Cristo que se esfuerza en portar la Cruz, caído en el suelo, rodeado de sayones que, en difíciles escorzos, pugnan por levantarle. En segundo término, dos jinetes portando enseñas y banderas y, en lejanía, el Calvario con las dos cruces para los ladrones ya alzadas. Como sus lienzos compañeros,

The Crowning with Thorns
Oil on canvas. Ca. 1754
Giaquinto, Corrado
The Crowning with Thorns
Oil on canvas. Ca. 1754
Giaquinto, Corrado

This canvas was part of a series on the Passion that decorated the private oratory of Ferdinand VI in the Buen Retiro palace until 1808. Giaquinto establishes a contrast between Christ’s submission and resignation and the violence of the torturers as they humiliate him, brutally placing the crown of thorns on his head. The artist’s Roman training is evident in the classical poses of the figures.

Christ before Pilate
Oil on canvas. Ca. 1754
Giaquinto, Corrado
Christ before Pilate
Oil on canvas. Ca. 1754
Giaquinto, Corrado

Shortly after his arrival in Spain in 1753, Giaquinto embarked on a series of eight canvases on scenes from the Passion for the King’s Oratory in the Buen Retiro Palace in Madrid. The series also included the altarpiece, which depicted The Holy Trinity (P-5444). Christ is brought before Pilate who, seated in the background, aims to achieve a balance between his own opinion regarding the innocence

The Agony in the Garden
Oil on canvas. Ca. 1754
Giaquinto, Corrado
The Agony in the Garden
Oil on canvas. Ca. 1754
Giaquinto, Corrado

This canvas is one of a group of eight painted by Giaquinto shortly after his arrival in Spain in 1753. It was painted for the King’s Prayer Chamber in the Buen Retiro palace. The series was devoted to the Passion and this canvas depicts Christ in prayer with the Apostles asleep in the background and the soldiers advancing towards the garden of Gethsemane in the far distance.

The Descent from the Cross
Oil on canvas. Ca. 1754
Giaquinto, Corrado
The Descent from the Cross
Oil on canvas. Ca. 1754
Giaquinto, Corrado

A group of sorrowful figures is illuminated by the rays of divine light which pierce the darkness that fell with the death of Christ, shown lying in his mother’s lap and anointed by Mary Magdalene. The canvas belongs to a series on the Passion that decorated the private oratory of Ferdinand VI in the Buen Retiro palace until 1808 when it was dismantled, entering the Prado in 1818.

The Holy Trinity, the Virgin and Saints
Oil on canvas. Ca. 1755
Giaquinto, Corrado
The Holy Trinity, the Virgin and Saints
Oil on canvas. Ca. 1755
Giaquinto, Corrado

Corrado Giaquinto had frequent contacts with Spain as of 1735 or earlier. But the death of Jacopo Amigoni in 1752 led to his being summoned to Madrid the next year. During his stay in the Spanish Court, he earned the highest honors given to a painter in that era. He became First Painter to the Court in August 1753 and director of the Academy of San Fernando that December. His main mission was the

Pietà
Oil on canvas. Ca. 1756
Giaquinto, Corrado
Pietà
Oil on canvas. Ca. 1756
Giaquinto, Corrado

A Pietà made by this Neapolitan painter during his stay in Madrid (1753-1763). The group of Christ and the angel holding him corresponds to the fresco of the Holy Trinity in the chapel at Madrid’s Royal Palace, of which the Museo del Prado has a presentation sketch (P03204). A preparatory drawing of the figure of Christ is at the Museo di San Martino in Naples. Giaquinto had already used th

Allegory of Justice and Peace
Oil on canvas. 1753 - 1754
Giaquinto, Corrado
Allegory of Justice and Peace
Oil on canvas. 1753 - 1754
Giaquinto, Corrado

This allegorical work, signed on the column lying on the ground in the centre 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 characterised the reign of Ferdinand VI, for w

Landscape with Hunters
Oil on canvas. 1753 - 1760
Giaquinto, Corrado
Landscape with Hunters
Oil on canvas. 1753 - 1760
Giaquinto, Corrado

One of the few landscapes by Giaquinto, this canvas decorated the Infanta’s bedroom in the Buen Retiro palace. The monumental hunt recreates the classical world through a harmonious vision of nature in which the inclusion of the human presence reflects the norms of 17th-century classicising landscape and the works of Annibale Carracci and Nicolas Poussin.

The Adoration of the Shepherds
Oil on canvas. 1753 - 1762
Giaquinto, Corrado
The Adoration of the Shepherds
Oil on canvas. 1753 - 1762
Giaquinto, Corrado

An accomplished heir to the Neapolitan tradition of Luca Giordano, Giaquinto reveals the extensive influence of Giordano’s figure types in this Adoration of the Shepherds. In the centre of the composition the infant Christ becomes a powerful source of radiated light which bathes the faces of the figures grouped around the manger.

Paradise
Oil on canvas. 1754 - 1757
Giaquinto, Corrado
Paradise
Oil on canvas. 1754 - 1757
Giaquinto, Corrado

Corrado Giaquinto had frequent contacts with Spain as of 1735 or earlier. But the death of Jacopo Amigoni in 1752 led to his being summoned to Madrid the next year. During his stay in the Spanish Court, he earned the highest honors given to a painter in that era. He became First Painter to the Court in August 1753 and director of the Academy of San Fernando that December. His main mission was the

The Trinity
Oil on canvas. 1755 - 1756
Giaquinto, Corrado
The Trinity
Oil on canvas. 1755 - 1756
Giaquinto, Corrado

Supported by an angel and accompanied by a youthful angel holding the crown of thorns, the dead Christ lies on the orb of the world before God the Father and the dove of the Holy Spirit. The expressive and luminous composition, particularly the figure of Christ, appears in other works by Giaquinto such as the fresco in the presbytery of the chapel in the Royal Palace in Madrid.

The Battle of Clavijo
Oil on canvas. 1755 - 1756
Giaquinto, Corrado
The Battle of Clavijo
Oil on canvas. 1755 - 1756
Giaquinto, Corrado

Mounted on a white steed and flanked by an angel bearing a flag, Saint James gallops over a multitude of fallen Moors and horses. The battle scene occupies a rocky landscape in the middle ground. This canvas is a sketch for the elliptical dome at the entrance to the Royal Palace’s chapel and was painted by Giaquinto between 1756 and 1757. The canvas and its corresponding fresco are clearly derived

The Glory of Saints
Oil on canvas. 1755 - 1756
Giaquinto, Corrado
The Glory of Saints
Oil on canvas. 1755 - 1756
Giaquinto, Corrado

Standing on clouds at the center of the composition, Moses points toward the sunbeams shining down from the sky. Beneath him, Abraham and Isaac are accompanied by the sacrificial lamb. To the left of the composition, Saint Laurence and Saint Steven await the palm frond of martyrdom carried by angels; and to the right, we see the strong women of the Bible and King David.This composition belongs to

Spain pays Homage to Religion and Faith
Oil on canvas. 1759
Giaquinto, Corrado
Spain pays Homage to Religion and Faith
Oil on canvas. 1759
Giaquinto, Corrado

In what is now the stairway at Madrid’s Royal Palace, Corrado Giaquinto developed a program depicting the Spanish Monarchy, its virtues and its historical mission to serve and defend Religion. Allegorical representations of Religion and the Catholic Church appear at the centre of Spain pays homage to Religion and to the Church, 1759. Religion is depicted as a woman carrying a cross in her left han

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