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Garland of Fruit and Vegetables
Oil on canvas. Before 1650
Anonymous
Garland of Fruit and Vegetables
Oil on canvas. Before 1650
Anonymous

Queen María Luisa in a Mantilla
Oil on canvas. 1799 - 1800
Esteve, Agustín
Queen María Luisa in a Mantilla
Oil on canvas. 1799 - 1800
Esteve, Agustín

A month after giving her approval to the portrait Goya had painted of her in a mantilla in September 1799, Queen Maria Luisa wrote to Manuel Godoy, “I want you to have a copy made by Esteve”. Indeed, Esteve painted several replicas of official portraits of the monarchs for official institutions. This earned him his appointment as court painter in June 1800. The present copy is from Godoy’s collect

Louis I, Prince of Asturias
Oil on canvas. 1717
Houasse, Michel-Ange
Louis I, Prince of Asturias
Oil on canvas. 1717
Houasse, Michel-Ange

Michel-Ange Houasse, son of the painter René-Antoine Houasse (c.1645-1710), had enjoyed a long career during the reign of Louis XIV of France (r.1643-1715). From 1715 until his death, Michel-Ange worked in the court in Madrid during the reign of the first Bourbon monarch, Philip V (r.1700-24 and 1724-46), creating interesting landscape paintings, genre scenes, religious paintings and portra

Charles III
Oil on canvas. Ca. 1765
Mengs, Anton Raphael
Charles III
Oil on canvas. Ca. 1765
Mengs, Anton Raphael

This image of King Charles III was paired with a portrait of his wife, Maria Amalia of Saxony (P2201), although the image of the queen was not painted in her presence. Instead, it was invented on the basis of other likenesses, as she died before the artist was able to paint her.Mengs’s effigie of Charles III became the monarch’s official image and was therefore the object of various replicas. One

Allegory of the Donation of the Casino to Queen Maria Isabel of Braganza by the Municipality of Madrid
Tempera on canvas. 1818
López Portaña, Vicente
Allegory of the Donation of the Casino to Queen Maria Isabel of Braganza by the Municipality of Madrid
Tempera on canvas. 1818
López Portaña, Vicente

An allegorical image that alludes to the City Government of Madrid´s gift of the mansion called the “Queen´s Casino” to Queen Isabel de Braganza on the occasion of her wedding to King Fernando VII (1784-1833) in 1816. This work was inspired by the compositions of Corrado Giaquinto´s frescos for Madrid´s Royal Palace and was painted to decorate the ceiling of the main salon of the mansion itself, a

View of the Quay of Alicante
Oil on canvas. Ca. 1785
Sánchez, Mariano Ramón
View of the Quay of Alicante
Oil on canvas. Ca. 1785
Sánchez, Mariano Ramón

Part of a series of 118 views of Spanish ports, bays, islands, arsenals, etc. that Charles IV, King of Spain, commissioned in 1781 when he was Prince of Asturias and that kept the artist busy until 1803.

Still Life with Grapes
Oil on canvas. 1771
Meléndez, Luis Egidio
Still Life with Grapes
Oil on canvas. 1771
Meléndez, Luis Egidio

The Etrurian Royal Family
Oil on canvas. 1804
Fabre, François-Xavier
The Etrurian Royal Family
Oil on canvas. 1804
Fabre, François-Xavier

Painted in Florence, this canvas depicts Prince Luis I of Parma (1773-1803), who had died the previous year, and his wife, the Infanta María Luisa (1782-1824), daughter of Charles IV of Spain and María Luisa of Parma. Also included are their children, Carlo Ludovico (1799-1883), heir to the throne, and María Luisa Carlota (1802-1857), future wife of Maximilian, Prince of Saxon

Still Life with Plums, Figs and Bread
Oil on canvas. Second half of the XVIII century
Meléndez, Luis Egidio
Still Life with Plums, Figs and Bread
Oil on canvas. Second half of the XVIII century
Meléndez, Luis Egidio

Se ve un plato, del tipo “castañuela”, de borde historiado -siguiendo un diseño popular- que posiblemente posea un origen talaverano; ejerce el papel de recipiente desbordado por las ciruelas, algunas en ramo, que lo colman. A un lado, sobre una servilleta doblada, una rosca de pan refleja con acierto el impacto de la luz; al otro, tres higos rellenan el vacío de la izquierda, procurando equilibra

The Infante Carlos María of Bourbon with Drum and Tambourine
Oil on canvas. 1791 - 1792
Bayeu y Subías, Ramón
The Infante Carlos María of Bourbon with Drum and Tambourine
Oil on canvas. 1791 - 1792
Bayeu y Subías, Ramón

Considerado como obra de Antonio Carnicero (1748-1814), Arturo Ansón Navarro (2012) lo atribuyó a Ramón Bayeu por motivos estilísticos y por su relación documental con una serie de retratos de la familia real pintados por Bayeu hacia 1791. Según estos documentos, Ramón Bayeu, nombrado pintor de cámara el 20 de abril de 1791, pintó en ese año y en el Real Sitio de Aranjuez los retratos de varios hi

Maria Amalia of Saxony
Oil on unlined canvas. Ca. 1761
Mengs, Anton Raphael
Maria Amalia of Saxony
Oil on unlined canvas. Ca. 1761
Mengs, Anton Raphael

A frontal view of the Queen. She sits, wearing a red silk dress with white sleeves and bonnet. Her right arm rests very naturally on a table, while her left holds a book. She is marking one of the pages with her finger as though she had just interrupted her reading. This is quite common in female portraits. Maria Amalia was born to Friedrich Augustus III, King of Poland and elector of Saxony; and

Still Life with Ham, Eggs and Vessels
Oil on canvas. Third quarter of the XVIII century
Meléndez, Luis Egidio
Still Life with Ham, Eggs and Vessels
Oil on canvas. Third quarter of the XVIII century
Meléndez, Luis Egidio

Forma parte de la serie de bodegones reunidos por el futuro Carlos IV de España y María Luisa de Borbón-Parma cuando aún eran príncipes de Asturias, para su Gabinete de Historia Natural del Palacio Real de Madrid. La documentación no llega a ponerse de acuerdo en la cantidad de obras realizadas por Meléndez para esta serie, barajándose un número entre treinta y siete y cuarenta y cinco pinturas. E

Vase of Flowers
Oil on canvas. 1660 - 1676
Arellano, Juan de
Vase of Flowers
Oil on canvas. 1660 - 1676
Arellano, Juan de

Juan de Arellano specialised in painting pictures of flowers, which brought him great artistic and financial success. Here, he depicts a wicker container with a bouquet of tulips, roses, campanulas and other species. The flowers have been pruned, and while some still retain their freshness, others have begun to wilt and have fallen on the stone pedestal. The artist merges elements of Flemish origi

The Bridge at Molins de Rey
Oil on panel. Ca. 1788
Sánchez, Mariano Ramón
The Bridge at Molins de Rey
Oil on panel. Ca. 1788
Sánchez, Mariano Ramón

Sánchez worked at the Madrid court and was commissioned to paint several views of the regions of Spain, with particular emphasis on ports, during the reign of Charles III. This painting belongs to a long series of panoramic views by the artist, infused with a flavour that is more topographical than artistic. The bridge at Molins de Rey (Barcelona) was built between 1763 and 1767 and was dem

Charles IV in the Uniform of a Colonel of the Royal Guard
Oil on canvas. 1799 - 1800
Esteve, Agustín
Charles IV in the Uniform of a Colonel of the Royal Guard
Oil on canvas. 1799 - 1800
Esteve, Agustín

This work is a copy of the portrait painted by Goya in 1799. It was made for the royal favourite Manuel Godoy, whose collection was confiscated following his fall from power in 1808. Charles wears the Golden Fleece and the sashes and badges of the orders of Charles III and Saint Januarius, the badges of the four Spanish orders of Santiago, Calatrava, Alcántara and Montesa, and that of the o

Vase of Flowers
Oil on panel. 1780 - 1788
Espinós, Benito
Vase of Flowers
Oil on panel. 1780 - 1788
Espinós, Benito

This flower painting brings to mind works the artist gave to the Prince of Asturias, Charles of Bourbon, in 1788. Shortly before he took the throne as King Charles IV. An early interest in art in general, and painting in particular, led this monarch to amass an excellent collection at his residence near the Monastery of San Lorenzo de El Escorial, and the numerals (360) that appear on this panel c

Royal Outing on the Large Lake in the Retiro
Oil on canvas. 1819 - 1820
Ribelles y Helip, José
Royal Outing on the Large Lake in the Retiro
Oil on canvas. 1819 - 1820
Ribelles y Helip, José

A bustling crowd gathers to watch King Ferdinand VII and his second wife, Isabel of Braganza, out in the royal boats on the placid waters of the Retiro lake. This is a fine example of classical landscape painting in the reign of Ferdinand VII, and echoes the style favoured by leading view painters at court, such as Fernando Brambilla.

Still Life with Oranges, Honey-Jar, Boxes of Sweetmeats and Watermelons
Oil on canvas. Ca. 1760
Meléndez, Luis Egidio
Still Life with Oranges, Honey-Jar, Boxes of Sweetmeats and Watermelons
Oil on canvas. Ca. 1760
Meléndez, Luis Egidio

This still life is one of the forty-four such painting which Meléndez painted for the natural history cabinet of Charles Prince of Asturias. The artist had conceived this vast visual natural history of the flora and fauna of Spain in still-life paintings as the greatest work of his career. The project was curtailed by the prince in 1777, however, due to the large number of pictures already

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