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According to Ovid, the marriage of Hippodamia to Pirithous sparked a mythical battle between their kinsmen, the lapiths and the centaurs. This theme appealed to artists as symbolising the battle betwe [+]
María Tomasa Palafox (1780-1835), Marchioness of Villafranca, is shown wearing a white empire-style dress and sitting on a red silk damask armchair, with her feet on a cushion. She is painting [+]
The hero of Republican Rome, Lucius Quinctius Cinncinatus had abandoned public life and retired to farm work. This painting depicts the moment when various representatives of the Senate offer to name [+]
This preparatory sketch for the ceiling of Charles III’s former bedroom at the Royal Palace in Madrid depicts the Institution of the Order of Charles III following the birth of the King’s first male g [+]
This wedding portrait by Vicente López depicts Ferdinand VII’s fourth and final wife, his niece Maria Cristina. All three of his previous spouses, María Antonia of Bourbon (1784-1806), M [+]
The decoration of the Queen’s Casino included two series of similar format and style alluding to cycles of time, painted by José de Madrazo and Juan Antonio de Ribera. These allegories of the H [+]
The allegories, The Hours of the Day, were painted in 1819 by José de Madrazo in Rome just before his return to Spain, to be used in the decoration of the small palace in Madrid known as Casino [+]
This portrait of Félix Máximo López Crespo (1742 - 1821), the first organist of the Royal Chapel and a notable musician and composer, was commissioned by his eldest son, Ambrosio [+]
Madrazo would have presented this preliminary study to the king for approval before painting the final version, which is also in the Prado (P3295). For many years the large-scale definitive version wa [+]
A preparatory sketch for the final picture, which is preserved in the Prado’s collection and was probably commissioned for the Museum itself. It commemorates the involvement of this queen of Portugues [+]
This portrait is one of the artist’s finest works and reveals his proximity to international Neo-classicism. The Grand Cross of the Order of the Reunion worn by the sitter and the red robe that identi [+]
Apollo holds a lyre and in keeping with Praxitelean ideals adopts an elegant contraposto pose. The original version was commissioned by Antonio Canova to decorate the Real Casa del Labrador at Aranjue [+]
Like Cubero’s Apollino (E00805), this sculpture of the young Mercury bearing his caduceus, inspired by the Doryphoros of Polykleitos, was intended for the statue gallery at the Real Casa del Labrador [+]
La autora, Condesa de Casa Valencia, hija de Francisco de Valencia y Sáenz del Pontón, conde de Casa Valencia y de María Josefa Codallos, cultivó la miniatura de la misma forma que algunas otras damas [+]
Busto prolongado, con el cuerpo hacia la izquierda y la cabeza de frente, vuelta hacia la derecha, mirando al espectador. Tiene el cabello castaño con ricitos en la frente y pañuelo blanco colocado en [+]
La dama retratada aparece como Pomona, diosa de la fruta, de los árboles frutales, los jardines y huertos de la mitología romana que también se asocia a la alegoría de la Abundancia. Esta iconografía, [+]
Estupendo retrato realizado según la estética francesa seguida por la mayoría de los miniaturistas portugueses. Fue pintado en 1828, en los primeros años de actividad de Primavera como miniaturista, t [+]
A pesar de su actividad como retratista en miniaturas, pocas son las piezas conocidas de este autor. Las pinturas de asunto mitológico y los paisajes, en la línea de su maestro Haes, son lo más conoci [+]
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