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Gonzalo Fernández de Córdoba at the Battle of Cerignola
Oil on canvas. 1835
Madrazo y Kuntz, Federico de
Gonzalo Fernández de Córdoba at the Battle of Cerignola
Oil on canvas. 1835
Madrazo y Kuntz, Federico de

Este lienzo es una de las obras fundamentales de la pintura del Romanticismo español, así como el primer cuadro importante de este género realizado por Federico de Madrazo a lo largo de su fecundísima carrera, que dedicaría después de forma prácticamente exclusiva a la pintura de retratos. Realizado en tamaño poussinesco es decir, a un tercio del natural, siguiendo la moda académica de esos años.

Contemporary Poets. A Reading by Zorilla in the Painter's Studio
Oil on canvas. 1846
Esquivel, Antonio María
Contemporary Poets. A Reading by Zorilla in the Painter's Studio
Oil on canvas. 1846
Esquivel, Antonio María

The most famous of Esquivel´s pieces and a leading work of Spanish Romanticism. Considered the maximum graphical testimony to the intellectual atmosphere during the reign of Isabel II (1830 - 1904), this canvas depicts a fictitious meeting of Esquivel´s most relevant cultural contemporaries. The composition combines the complexities of a group portrait with the scheme of Flemish Baroque cabinet po

The Tooth Puller
Oil on canvas. 1844
Alenza, Leonardo
The Tooth Puller
Oil on canvas. 1844
Alenza, Leonardo

Al poco de su muerte se recordaba que Alenza recorría como Goya los barrios bajos de la Corte, las tabernas, los ventorrillos de las afueras, las casillas del río, observando las fisonomías, trajes, maneras y usos populares para trasladarlos a sus cuadros. A esos suburbios madrileños ha de corresponder la ambientación de este lienzo que se halla entre lo mejor de su producción. Pintado en 1844, en

The Triumph of Bacchus
Oil on canvas. 1844
Alenza, Leonardo
The Triumph of Bacchus
Oil on canvas. 1844
Alenza, Leonardo

Pareja de la obra El sacamuelas (P7945) y pintado en el mismo año de 1844, presenta una clara relación con la obra homónima de Velázquez, que Alenza conoció en el Museo del Prado. En este lienzo, de todos modos, se resaltan mucho más los extremos de la embriaguez y el carácter burlesco de los personajes. La pintura revela un sentido abiertamente popular y jocoso. En el interior abovedado de una ta

The Torre del Oro
Oil on panel. 1833
Roberts, David
The Torre del Oro
Oil on panel. 1833
Roberts, David

David Roberts was one of the British romantic painters who traveled through Spain, capturing images that best represented the landscape and picturesque aspects of this country, especially in Andalusia. Here, he offers an image of the Guadalquivir River where it flows through Seville, with the Torre de Oro (Golden Tower) as the protagonist. The comings and goings of the boats on the water or berthe

Diptych with 42 Monumental Views of Spanish Cities
Oil on paper, panel, tin plate. 1835 - 1839
Pérez Villaamil y Duguet, Genaro
Diptych with 42 Monumental Views of Spanish Cities
Oil on paper, panel, tin plate. 1835 - 1839
Pérez Villaamil y Duguet, Genaro

Genaro Pérez Villaamil (El Ferrol, 1807-Madrid, 1854) can be considered the most significant and influential Spanish Romantic landscape painter and an artist who had an intense interest, characteristic of that period, in depictions of cities and their monuments.The small size of the tin plates on which theses scenes are painted allowed Villaamil to work from the motif, as he generally did w

Amalia de Llano y Dotres, Countess of Vilches
Oil on unlined canvas. 1853
Madrazo y Kuntz, Federico de
Amalia de Llano y Dotres, Countess of Vilches
Oil on unlined canvas. 1853
Madrazo y Kuntz, Federico de

The sitter, a Monarchist writer, an excellent horsewoman and a friend of the artist, is seated in a fine armchair, her figure brightly lit in the shadowy room. This appealing portrait has a decidedly French air, and is clearly influenced by the work of Ingres; it is far removed from the austere restraint of Spanish tradition. Madrazo highlights the sitter’s youth -she was thirty-two at the time- a

Federico Flórez y Márquez
Oil on canvas. 1842
Madrazo y Kuntz, Federico de
Federico Flórez y Márquez
Oil on canvas. 1842
Madrazo y Kuntz, Federico de

A full-length portrait of Federico Flórez as a boy, wearing the uniform of the School of Noble Students of Madrid. This work is especially significant in Madrazo´s oeuvre, as it is one of the few examples of a portrait in a landscape. The evocation of Velasquez´s world is combined with the approach of European Romanticism, including a sensationalist lighting that envelops the figure in a cr

Interior of the Mosque in Córdoba
Oil on canvas. 1838
Roberts, David
Interior of the Mosque in Córdoba
Oil on canvas. 1838
Roberts, David

The Scottish artist David Roberts travelled around Spain between 1832 and 1833, en route to Africa. Fascinated by its Islamic and Christian monuments, his works present an exotic and literary vision of Spain. This canvas, executed after his return to London, depicts a colourful and idealised view of the Villaviciosa Chapel, beneath the pierced vault constructed under Al-Hakam II.

Suerte de Varas (Lancing the Bull)
Oil on canvas. Ca. 1855
Lucas Velázquez, Eugenio
Suerte de Varas (Lancing the Bull)
Oil on canvas. Ca. 1855
Lucas Velázquez, Eugenio

Among the multiple sources of inspiration that Eugenio Lucas found in Goya’ works, bullfighting played a very substantial role in his painting career. As a bullfighting connoisseur and friend of bullfighters, he reflected his knowledge of that activity in a plethora of paintings of the widest variety, ambition and interest, always with the energetic and passionate approach that characterized his p

Sabina Seupham Spalding
Oil on canvas. 1846
Madrazo y Kuntz, Federico de
Sabina Seupham Spalding
Oil on canvas. 1846
Madrazo y Kuntz, Federico de

This portrait of the wife of the banker Henry O’Shea reveals the British influence on Madrazo’s fully romantic period. Her social position is indicated by the quality of the fabrics, laces and jewels, and by the elegant arrangement of the hands. The books allude to the culture of this lady, who was a friend to the writer Washington Irving.

The Castle of Alcalá de Guadaíra
Oil on panel. Ca. 1833
Roberts, David
The Castle of Alcalá de Guadaíra
Oil on panel. Ca. 1833
Roberts, David

El quebrado perfil del castillo de Alcalá de Guadaíra, cercano a Sevilla, aparece visto a lo lejos en un bellísimo atardecer en el que la sugerente luz del ocaso se refleja sobre el río. La imagen es fruto de la visión evocadora y romántica del escocés David Roberts, destacado representante del paisajismo británico, que ejerció gran influencia en artistas españoles, especialmente en Genaro Pérez V

María Dolores Aldama, Marchioness of Montelo
Oil on canvas. 1855
Madrazo y Kuntz, Federico de
María Dolores Aldama, Marchioness of Montelo
Oil on canvas. 1855
Madrazo y Kuntz, Federico de

This young aristocrat, portrayed in three-quarter length, stands posed before the viewer wearing a magnificent black satin and velvet dress trimmed with lace and ribbons, a close-fitting bodice and a full, domed skirt. Her hair is smoothed and parted, with braids wound around her ears and gathered in the back, held in place with a large, bejewelled pin and lace frill. She wears, at her neckline, a

Manuel Flores Calderón
Oil on canvas. Ca. 1842
Esquivel, Antonio María
Manuel Flores Calderón
Oil on canvas. Ca. 1842
Esquivel, Antonio María

The portrait of Manuel Flores Calderón is part of an anthology of Spanish Romantic child portraits. Manuel is portrayed in front of a seascape, with two ships on the horizon. He rests his right hand on a boulder. Notable here is the painter´s special sensitivity at capturing the model´s natural elegance, which recalls English child portraits. The precise drawing and sober palette are emphas

Rafaela Flores Calderón
Oil on canvas. Ca. 1842
Esquivel, Antonio María
Rafaela Flores Calderón
Oil on canvas. Ca. 1842
Esquivel, Antonio María

The portrait of Rafaela Flores Calderón is part of an anthology of Spanish Romantic child portraits. Rafaela leans on a large empty cage while a gray parrot perches on her left hand. In the background a flower garden has a pedestal topped by a large vase on the right. Notable here is the painter´s special sensitivity at capturing the model´s natural elegance, which recalls English child por

Carolina Coronado
Oil on canvas. Ca. 1855
Madrazo y Kuntz, Federico de
Carolina Coronado
Oil on canvas. Ca. 1855
Madrazo y Kuntz, Federico de

The writer Carolina Coronado (1820-1911) was a leading Romantic poet and a staunch advocate of education for women. Her sensitive, melancholy nature is conveyed here with delicate precision. The meticulous draughtsmanship reflects Madrazo’s academic training, whilst the beautiful black tones of the shawl, like the austere palette, recall the traditions of seventeenthcentury Spanish painting.

Portrait of a Lady with her Son
Oil on canvas. 1849
Ribera y Fieve, Carlos Luis de
Portrait of a Lady with her Son
Oil on canvas. 1849
Ribera y Fieve, Carlos Luis de

This portrait reveals the artist`s assimilation of French models, particularly those of his master, Paul Delaroche (1797-1856), who frequently used an oval format and low viewpoint in order to emphasise the monumentality of the figures. The dark tones of the mother`s dress create a harmonious contrast with the child`s skin tones and the highlights on the meticulously painted curtains and upholster

Josefa del Águila y Ceballos, later Marchioness of Espeja
Oil on canvas. 1852 - 1854
Madrazo y Kuntz, Federico de
Josefa del Águila y Ceballos, later Marchioness of Espeja
Oil on canvas. 1852 - 1854
Madrazo y Kuntz, Federico de

Madrazo interprets the elegance and refinement of the French painter Jean-Auguste-Dominique Ingres with a personality of his own, especially in the sitter’s pose. The handling of the textiles - notably the delicate rendering of the transparency of the lace - their colours, and the touches of the brush that accentuate the highlights make this a particularly significant work from his mature period.

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