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Francis of Austria (1768-1835) was the son of Leopold and Maria Luisa, Grand Duke and Duchess of Tuscany, and the grandson of Charles III of Spain. He was the last Holy Roman Emperor, becoming the fir [+]
Ferdinand IV (1751-1825) was the third son of Charles VII of Naples and his wife, Maria Amalia of Saxony. When his father acceded to the Spanish throne as Charles III in 1759, he became king of Naples [+]
Daughter of Charles III of Spain and Maria Amalia of Saxony, the sitter was born in Naples in 1745. In 1765 she married Leopold of Austria, Grand Duke of Tuscany, and bore sixteen children, including [+]
The two children portrayed here were the children of the Grand Duke of Tuscany, Leopold of Habsburg –who became Emperor of the Holy Roman Empire in 1790–, and Maria Luisa of Bourbon, daughter of Charl [+]
Second son of the Empress Maria Teresa and of Francis I, the sitter was born in 1747. He succeeded his brother Joseph II, who died without heir in 1790, as emperor of Germany and died in 1792. Brother [+]
Francisco Javier (1757-1771), youngest son of Charles III and Maria Amalia of Saxony, was painted by Mengs in the Palace of San Ildefonso, Segovia, as were his brothers, Antonio and Gabriel. The pose [+]
Maria Josefa (1751-1767) was the daughter of the Emperor Francis I and his wife Maria Teresa. She was first betrothed to Ferdinand IV of Naples but she died young and was consequently replaced in this [+]
In portraits of female subjects, Anton Rafael Mengs displays a warm and gentle quality, more Rococo in tone than the slightly academic coldness marking his historical and mythological compositions. Th [+]
Daughter of the Empress María Teresa Habsburg and the Emperor Francisco I of Lorena, María Carolina Habsburg-Lorena (Vienna, 1752-1814) married Ferdinand IV of Naples in 1768, and bore s [+]
This vigorously modelled study, in which the priming of the canvas is left visible, relates to Mengs’s great canvas of The Ascension. Painted for the high altar of Dresden cathedral, it survived the d [+]
This highly finished study, in which the priming of the canvas is left visible, relates to one of the heads in The Ascension, painted by Mengs for the high altar of Dresden cathedral. He began the fin [+]
This canvas forms a pair with that of Ruins with a Woman preaching. It depicts the Apostle Paul preaching, standing between the portico of a ruined temple and the temple of Vesta with the pyramid of G [+]
Born in Holland, van Wittel received his early training in Utrecht. He settled in Italy in 1674, where he became known as Vanvitelli and contributed decisively to the development of the veduta (view p [+]
The principal focus of this canvas and its pair, Ruins with Saint Paul preaching, is the splendour of Roman ruins and the evocation of the classical tradition. Within a setting of archaeological remai [+]
Painted with remarkable delicacy, probably from life, in this panel Mengs captures the artless fascination with which the saint presents to the world the message of the Redeemer’s arrival, inscribed o [+]
Two men play skittles among Roman ruins in a setting that recalls Venetian view paintings or vedute. The scene is framed by a border with fruit, musical and scientific instruments, books and a tray wi [+]
The decoration of the tabletop is a trompe l’oeil design of the "disordered table" type. The objects refer to the liberal arts, including paintings, of which two are anamorphic and one a silhouette po [+]
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