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The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), [+]
As the dedication indicates, this portrait reflects the close friendship between the artist and Eduardo Zamacois (1841-1871), his friend and fellow artist in Paris. Despite the portrait’s restrained, [+]
Benito Soriano Murillo (1827-1891) was an artist and deputy director of the Museo del Prado. He shared Raimundo de Madrazo and his family’s love of music, referred to by the guitar and piano. The eleg [+]
This painting and its dedication demonstrate the friendship between Raimundo de Madrazo and Bernardo Rico (1825-1894), a leading wood engraver and the brother of the painter Martín Rico. The co [+]
In this scene, set in the vicinity of Seville Cathedral, Madrazo deliberately echoes the peopled landscapes produced by his close friend, the Madrid painter Martín Rico; the main focus of the s [+]
In this popular scene, two people, one dressed in eighteenth century fashion, with a cape and two-cornered hat, are depicted in front of the Pavilion of Carlos V in the Gardens of the Alcázar o [+]
Two little girls play with one of the swans in the pool of the Jardín de las Damas at the Real Alcázar in Seville. Madrazo displays here his extraordinary skill with colours, particularl [+]
The eldest of six children born to Joaquín María de Errazu and Guadalupe Rubio de Tejada, Manuela was born in Querétaro (Mexico) in 1839. Her family, of Spanish origin, amassed a [+]
A portrait of Aline Masson, Madrazo´s favorite model and the esthetic ideal of femininity in late-nineteenth-century bourgeois Paris. The white mantilla over a red embroidered shawl and the flowers in [+]
Aline Masson was Madrazo’s favourite model for genre paintings. Her heavy-lidded gaze and slightly defiant attitude convey the frivolous atmosphere of Paris, where Madrazo’s portraits met with great a [+]
Sobre un fondo cerúleo, de ejecución rápida y desenvuelta, destaca la figura de una gitana de medio cuerpo. Como corresponde al estereotipo racial femenino, es de rostro ovalado, labios carnosos, cabe [+]
This work bears exceptional witness to the concurrence of Fortuny’s painting with that of his close friend, Raimundo de Madrazo. Begun by the former, it was completed after his death by the latter wit [+]
After establishing himself in Paris as portrait painter to the elegant and cosmopolitan high society of his time, Raimundo de Madrazo cultivated a particularly abundant clientele among the great ladie [+]
Aline Masson, the painter´s model, contemplates the signet -sealed envelope she holds in her right hand, which presumably arrived with the bouquet of flowers she holds in her left. The blue robe with [+]
This masterpiece by Raimundo de Madrazo represents his mature style in a worldly portrait painted with a personality that transcends his varied and different influences. Made a year before he was awar [+]
La obra es, como indica la inscripción, un estudio del natural para un retrato de gran tamaño que, encargado en 1887 por el Ministerio de Estado, cuyo titular era Segismundo Moret, para que sirviera d [+]
Madrazo shows his skill at bringing female sensuality to the fore in an intimate scene of daily toilette that recalls French Rococo. The various objects scattered on the floor have an evident erotic c [+]
This portrait is one of the most beautiful examples of the great actress María Guerrero’s (1867-1928) lifelong obsession with her own image. She began having her portrait painted by the most fa [+]
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