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This is a bust portrait of the painter at 28 years old, when he was already a close friend of Federico de Madrazo’s. He is depicted frontally, slightly turned to the left, and wearing spectacles, a wide moustache and goatee. Over the jacket, and highlighted over the white shirt, there is a half-sketched bowtie, painted with broad brushstrokes that contrast with the detailed rendering of the face.
Retratado a sus 54 años, de busto y ante un fondo neutro, viste con indumentaria doméstica, sujeta su corbata con un alfiler y aparece cubierto por un grueso gabán. De gesto enérgico y temperamental, su escaso cabello, de incipientes canas en las sienes, le deja despejada la frente, luciendo poblado bigote y mosca. Mira al espectador con la boca apretada y el ceño ligeramente fruncido.Nacido en Ca
Sobre un fondo neutro matizado desde el negro al verde azulado, se ilumina por la izquierda y desde arriba el rostro del pintor, recortado casi de perfil con abundante y rubia cabellera, ancha frente, bigote, perilla y ojos claros que delatan su origen natal. Los pardos del gabán, bajo el que se adivina un corbatín azulado, dan paso a un rostro en el que el juego de luces y sombras matizadas por p
According to the inscription on the right, this is a portrait of the painter and friend of Madrazo, Eduardo Rosales. The detailed rendering of the face in profile stands out against the neutral green background. The very loose brushstrokes are applied with large gestures, bringing out the highlights on the forehead, nose and ear and drawing especial attention to the red button of the Legion of Hon
Carlos Luis de Ribera y Fievé, eldest son of the neoclassical painter, Juan Antonio de Ribera, was also a painter and a friend of Federico de Madrazo, who made this portrait while both lived in Paris. It is the result of an agreement that each would paint the image of the other, and then send the works to the annual painting exhibition at the Academy of Fine Arts of San Fernando in Madrid.
Gaspar Sensi Baldachi, litógrafo y pintor de origen italiano, discípulo de Tomasso Minardi cuando contaba más de treinta años de edad se trasladó a Madrid y en esta ciudad estableció su residencia principal hasta su muerte. En este retrato, obra de Federico de Madrazo, está más presente la voluntad de hacer un estudio de cabeza que el interés por captar la psicología del personaje. No obstante res
Louise Amour Marie de Bouillé, the wife of the French ambassador in Madrid, is registered as a copyist at the Museo del Prado from November 1871 onwards. It must have been around then that she was portrayed by Federico de Madrazo in this delicate work, half-way between a life sketch and a small portrait, where the aristocrat is shown painting. Of Caribbean Creole descent, Louise was a multi
This splendid portrait is part of the series that Federico de Madrazo painted in August 1875 for the artist’s sons living in Paris, to which he would subsequently add the portraits of Isabel and Cecilia and of Ricardo one year later. This intention to paint his children’s effigies for himself responds to Federico’s most intimate paternal desire at the age of 60, in the solitude of his widowhood: p
