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From 1888, Riancho regularly painted the countryside around his native Entrambasmestas, particularly focusing on the topography of this mountainous area. The yellows and ochres of the trees and the dry grass suggest the onset of autumn. That season, with its wide range of tones in the landscape, was also the one the artist most enjoyed painting.
En la orilla de una laguna bordeada de juncos y espadañas dos cazadores con sus escopetas, uno de pie y otro sentado, acechan cualquier movimiento en la laguna. A la izquierda, cierra la composición el tronco y parte del ramaje de un soberbio abedul y al fondo una masa de álamos que abren una perspectiva en profundidad. A la derecha, un cerro iluminado por el sol, subraya la tonalidad arcillosa y
From an early age, Muñoz Degrain was particularly attracted to landscape painting. This large canvas, which he produced at the age of twenty-six, is based on a realist conception of nature. Nonetheless, due to his strong emphasis on pictorial effects, this landscape is by no means an objective representation.
A view of the profile of the Villerville mansion from the beach. The short, impasto and vibrant brushtrokes emphasize the sensation of a fleeting moment that Haes seems to have wanted to capture with this landscape. The highlights that illuminate the ocean mist contrast with the dark range of colors on the horizon and the rocks in the foreground. The drawing, Villerville (D05285), in the Prado Mus
Sobre una gran extensión de playa una barca pesquera con los mástiles erguidos y las velas replegadas descansa en la arena. Alrededor de ella cinco figuras diminutas de pescadores. A la izquierda montículo rocoso que cae en declive en el mar. Gran porción de cielo con nubes muy movidas (Texto extractado de: Gutiérrez Márquez, A.; Carlos de Haes en el Museo del Prado 1826-1898, Madrid: Museo Nacion
A la izquierda, sobre un montículo, matorrales y un poste en primer término. Detrás, restos de una empalizada que baja hasta el mar. En el centro y sobre la arena, restos de troncos arrastrados por la marea. Una franja de mar y una gran porción de cielo muy cubierto de nubes turbulentas (Texto extractado de: Gutiérrez Márquez, A.; Carlos de Haes en el Museo del Prado 1826-1898, Madrid: Museo Nacio
Torrential rain falls on one of the most picturesque areas of the city of Granada, where the Darro River runs alongside the street leading to the Generalife neighborhood. The choice of this city for a pictorial scene is significant in Muñoz Degrain, as he was attracted to its historical past and the possibility of recreating legendary Arab episodes, often set in the Alhambra. The stormy sub
These are instantaneous sketches taken directly from nature, here on the coast, in the French countryside, and in the mountains of Picos de Europa. Haes was a moving force in the transformation of landscape painting, bringing a completely new concept of the interpretation of Nature, with a realism that was sensitive to all elements. In all his landscapes, Haes very exactly captures the physical as
A la orilla del mar, baten las olas sobre las formaciones rocosas que se adentran en él, sobresaliendo a la izquierda un promontorio en cuya superficie se adhieren líquenes y vegetación marina. Al fondo, se observa un mar rizado salpicado por pequeñas crestas de olas que van proporcionando pequeños puntos de luz sobre la superficie marítima que culmina en el horizonte en un sutil línea verdosa que
Martín Rico was one of the leading Spanish landscape painters of the second half of the nineteenth-century. He was particularly interested in depicting tranquil stretches of water, and during his long stay in France he often painted the countryside around the rivers Seine and Marne near Paris. Here, using a very limited range of colours, he arranges the composition in parallel horizontal st
Un cercado, semi cubierto por matorrales y arbustos floridos, abre paso a un camino que se pierde por la izquierda. Al fondo, el desmonte de una pendiente iluminada fuertemente por el sol da paso a la mole pétrea de los picos montañosos donde los juegos de luces y de sombras y las pinceladas briosas y empastadas van marcando los volúmenes y los accidentes geológicos. A la derecha, más difuminado,
The ruins of an old Tile Factory and the adjacent constuction on Príncipe Pío Hill at the Royal Seat of La Florida, Madrid. This enclave was one of the most visited by Haes and his disciples, as they often went there to do outdoor painting exercises for the San Fernando School. The intensity of the light, the tonal variations of the ochers, browns and greens, and their contrast with
Sobre la arena pedregosa, restos de seis postes de una empalizada. Al fondo, a la derecha, un montículo con cuatro construcciones y en el declive que se adentra en el mar, un embarcadero. Sobre el mar y en la lejanía, a la izquierda un barco a vapor dejando una estela de humo sobre un cielo muy cubierto de nubes. Al fondo a la derecha, se vislumbra un perfil costero. Haes recoge este mismo paisaje
This work shows a setting on the outskirts of the town of Jaraba, bordering the province of Guadalajara at the southeastern edge of the province of Zaragoza in the Mesa River Cañon between Jaraba and Calmarza. It was painted by Carlos de Haes on his way to the Monasterio de Piedra, one of his favorite places to paint landscapes after he discovered it in the summer of 1856. He had been invit
A country scene with a hill and a copse of woods on the right, and a perspective to the left that follows a river. In the foreground, three boys play near the water. The barretina cap one of them wears identifies them as Catalonian peasant children. The dark color in the foreground, which contrasts with the luminous sky, is a singular aspect of this painting rendered by Martí with impasto b
Built on a high and inaccessible mountain, the castle of Montsegur, one of the last strongholds of the Cathars (a Christian religious sect with gnostic elements that spread across Western Europe in the eleventh century), provides the title for this painting, although the real focus of the work is not the castle but the rugged topography of this area of southern France, which the painter describer
A la derecha, plantas inclinadas que crecen y se desarrollan en el agua al borde de la laguna. Masa de vegetación que se vuelve más espesa al fondo con una arboleda, dando paso a una línea uniforme oscura que se estrecha en la lejanía abarcando todo el perímetro lacustre, sobresaliendo en él, la lejana silueta de un molino. Sobre las aguas también restos de una empalizada. Amplia porción de cielo
These are instantaneous sketches taken directly from nature, here on the coast, in the French countryside, and in the mountains of Picos de Europa. Haes was a moving force in the transformation of landscape painting, bringing a completely new concept of the interpretation of Nature, with a realism that was sensitive to all elements. In all his landscapes, Haes very exactly captures the physical as
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