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Sobre una explanada, arbustos cobijados por un pequeño promontorio. A la derecha, una construcción, semejante a un aljibe, y detrás, gran extensión de árboles frutales entre los que sobresalen los altos troncos de las palmeras, a la izquierda diseminadas y a la derecha en un bosque más compacto. Fondo montañoso difuminado cuyas cimas se coronan por brumas y nubes bajas en un cielo que torna limpio
En una composición horizontal, favorecida por el propio formato del soporte, se plasma una llanura con un desnivel en el centro del terreno en el que junto a un bosque de palmeras se alza un aljibe para el riego de los cercanos frutales que se insinúan a la derecha. Entre este palmeral sobresalen cinco ejemplares que con sus altos tronco enlazan y funden las dos franjas horizontales en que está cl
The beauty of its high peaks attracted numerous landscape painters to the French region of the Dauphinoise. Among them was Haes, who was captivated by this landscape near Provence and the French Alps. In this panoramic view, typical of his early output, he maintains his use of earthy tones and strongly modelled volumes defined by contrasts of light. The canvas was executed in his studio from a pre
Throughout the second half of the nineteenth century, Carlos de Haes was the leading landscape artist in Spain, not only because of his continuous activity as a painter in that genre but also because of his role as a teacher, for he held the chair of Landscape Painting in Madrid´s Higher School of Painting, Sculpture and Printmaking (Escuela Superior de Pintura, Escultura y Grabado). There he trai
This work shows a setting on the outskirts of the town of Jaraba, bordering the province of Guadalajara at the southeastern edge of the province of Zaragoza in the Mesa River Cañon between Jaraba and Calmarza. It was painted by Carlos de Haes on his way to the Monasterio de Piedra, one of his favorite places to paint landscapes after he discovered it in the summer of 1856. He had been invit
The ruins of an old Tile Factory and the adjacent constuction on Príncipe Pío Hill at the Royal Seat of La Florida, Madrid. This enclave was one of the most visited by Haes and his disciples, as they often went there to do outdoor painting exercises for the San Fernando School. The intensity of the light, the tonal variations of the ochers, browns and greens, and their contrast with
These are instantaneous sketches taken directly from nature, here on the coast, in the French countryside, and in the mountains of Picos de Europa. Haes was a moving force in the transformation of landscape painting, bringing a completely new concept of the interpretation of Nature, with a realism that was sensitive to all elements. In all his landscapes, Haes very exactly captures the physical as
En la orilla de una laguna bordeada de juncos y espadañas dos cazadores con sus escopetas, uno de pie y otro sentado, acechan cualquier movimiento en la laguna. A la izquierda, cierra la composición el tronco y parte del ramaje de un soberbio abedul y al fondo una masa de álamos que abren una perspectiva en profundidad. A la derecha, un cerro iluminado por el sol, subraya la tonalidad arcillosa y
These are instantaneous sketches taken directly from nature, here on the coast, in the French countryside, and in the mountains of Picos de Europa. Haes was a moving force in the transformation of landscape painting, bringing a completely new concept of the interpretation of Nature, with a realism that was sensitive to all elements. In all his landscapes, Haes very exactly captures the physical as
These are instantaneous sketches taken directly from nature, here on the coast, in the French countryside, and in the mountains of Picos de Europa. Haes was a moving force in the transformation of landscape painting, bringing a completely new concept of the interpretation of Nature, with a realism that was sensitive to all elements. In all his landscapes, Haes very exactly captures the physical as
Sobre el agua, a la derecha reposan y se reflejan en la superficie varias barcazas de pesca con su velamen plegado. Más a la izquierda, la mole del lazareto cuya estructura arquitectónica, iluminada por un sol de mediodía, se refleja también en las mansas aguas del mar. Delante, un bote pequeño con un pescador. A la izquierda asoman los mástiles de otra embarcación.Estos lazaretos, construidos fue
Un cercado, semi cubierto por matorrales y arbustos floridos, abre paso a un camino que se pierde por la izquierda. Al fondo, el desmonte de una pendiente iluminada fuertemente por el sol da paso a la mole pétrea de los picos montañosos donde los juegos de luces y de sombras y las pinceladas briosas y empastadas van marcando los volúmenes y los accidentes geológicos. A la derecha, más difuminado,
These are instantaneous sketches taken directly from nature, here on the coast, in the French countryside, and in the mountains of Picos de Europa. Haes was a moving force in the transformation of landscape painting, bringing a completely new concept of the interpretation of Nature, with a realism that was sensitive to all elements. In all his landscapes, Haes very exactly captures the physical as
Universally considered the most emblematic painting of Spanish 19th-century realist landscape, this spectacular panorama of Picos de Europa is also Carlos de Haes absolute masterpiece. He painted it at the height of his career, with the confidence and ease of his most refined style. It is thus the maximum example of the powerful transformation that this great master of Belgian origin effected in l
A la orilla del mar, baten las olas sobre las formaciones rocosas que se adentran en él, sobresaliendo a la izquierda un promontorio en cuya superficie se adhieren líquenes y vegetación marina. Al fondo, se observa un mar rizado salpicado por pequeñas crestas de olas que van proporcionando pequeños puntos de luz sobre la superficie marítima que culmina en el horizonte en un sutil línea verdosa que
Sobre una gran extensión de playa una barca pesquera con los mástiles erguidos y las velas replegadas descansa en la arena. Alrededor de ella cinco figuras diminutas de pescadores. A la izquierda montículo rocoso que cae en declive en el mar. Gran porción de cielo con nubes muy movidas (Texto extractado de: Gutiérrez Márquez, A.; Carlos de Haes en el Museo del Prado 1826-1898, Madrid: Museo Nacion
A view of the profile of the Villerville mansion from the beach. The short, impasto and vibrant brushtrokes emphasize the sensation of a fleeting moment that Haes seems to have wanted to capture with this landscape. The highlights that illuminate the ocean mist contrast with the dark range of colors on the horizon and the rocks in the foreground. The drawing, Villerville (D05285), in the Prado Mus
These are instantaneous sketches taken directly from nature, here on the coast, in the French countryside, and in the mountains of Picos de Europa. Haes was a moving force in the transformation of landscape painting, bringing a completely new concept of the interpretation of Nature, with a realism that was sensitive to all elements. In all his landscapes, Haes very exactly captures the physical as
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