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Seated Woman
Oil on canvas. Ca. 1785
Camarón, José
Seated Woman
Oil on canvas. Ca. 1785
Camarón, José

Seated Woman reflects the type of genre scene popular for cabinet paintings in the eighteenth century. Of small format and refined colour, it depicts an exquisitely dressed young woman, her heading resting on her hand and her eyes closed. Her languidness and the handkerchief on the vacant seat suggest she has been crying, possibly for her absent lover.

Ascent of a Montgolfier Balloon at Aranjuez
Oil on canvas. Ca. 1784
Carnicero, Antonio
Ascent of a Montgolfier Balloon at Aranjuez
Oil on canvas. Ca. 1784
Carnicero, Antonio

The event depicted in this painting by Antonio Carnicero illustrates the interest in scientific advances characteristic of the Enlightenment, a historical period from the second half of the 18th century dominated by practical reason. The image shows French balloon pilot Bouclé’s experiment in the gardens of the Royal Seat at Aranjuez on June 5, 1784, during the final years of Charles III’s

Young Woman asleep in a Hammock
Oil on copperplate. 1780 - 1781
Paret y Alcázar, Luis
Young Woman asleep in a Hammock
Oil on copperplate. 1780 - 1781
Paret y Alcázar, Luis

The hammock suggests a tropical setting, possibly Puerto Rico where Paret lived between 1775 and 1778 after he was banished by Charles III. The sumptuous curtain evokes a dream-like space, while the vase of roses and the handkerchief in the young woman`s hand refer to love, tears and the sadness of abandonment. The subject of a woman in a hammock would become popular in the nineteenth century.

Self-portrait of the Artist in his Studio
Oil on canvas. 1777
Paret y Alcázar, Luis
Self-portrait of the Artist in his Studio
Oil on canvas. 1777
Paret y Alcázar, Luis

The family of this celebrated Madrid artist was originally French, and his own aesthetic roots lie outside Spain. In this self-portrait we see him sitting in a chair with cabriole legs, dressed in sumptuous elegance. He is wearing clothes similar to those worn by the majos of Madrid (those somewhat bohemian dandies-with-attitude of the late eighteenth and early nineteenth century), but more refine

Charles III dining before the Court
Oil on panel. 1771 - 1772
Paret y Alcázar, Luis
Charles III dining before the Court
Oil on panel. 1771 - 1772
Paret y Alcázar, Luis

In this painting, Paret invites us to attend a daily ritual at the Royal Palace in Madrid. Spain’s King Charles III (1716-1788) sits at the table in presence of his ministers, ambassadors, servants and his favorite hunting dogs. Paret captures the moment when he is about to drink from a goblet offered by a servant on bended knee. The walls are sumptuously decorated with striking tapestries whose m

The Country Picnic
Oil on canvas. 1784
Bayeu, Francisco
The Country Picnic
Oil on canvas. 1784
Bayeu, Francisco

Within the brick and masonry walls of a traditional Castilian corral at a country house, a group of Majos and Majas rest on the ground and share a light meal. The elegance of some of their clothing, and the sword on the left, along with the youths´ somewhat unrefined flirting, indicate that the lords have been joined by some of the locals. A typical element in this sort of images rests on th

The Paseo de las Delicias, Madrid
Oil on canvas. 1784 - 1785
Bayeu, Francisco
The Paseo de las Delicias, Madrid
Oil on canvas. 1784 - 1785
Bayeu, Francisco

Noblemen and their ladies mingle along a popular path that links Madrid´s Manzanares River with the Puerta de Atocha. Their elegant postures reflect a courtly etiquette that contrasts with the relaxed postures of the Majos sitting on the right.This preparatory sketch for a cartoon painted by the artist´s brother, Ramón Bayeu, served to obtain the king´s approval for a tape

Masquerade
Oil on panel. 1767
Paret y Alcázar, Luis
Masquerade
Oil on panel. 1767
Paret y Alcázar, Luis

This painting, prepared by Paret in an excellent drawing (British Museum in London, inv. 1890,1209.50) and titled Baile in máscara (The Masked Ball), on a cartouche as a kind of label, is one of the earliest known works by the artist. It demonstrates great technical and compositional skill in arranging a subtly illuminated interior filled with a multitude of figures. The varied dress, poses

María de las Nieves Micaela Fourdinier, the Painter's Wife
Oil on copperplate. 1783
Paret y Alcázar, Luis
María de las Nieves Micaela Fourdinier, the Painter's Wife
Oil on copperplate. 1783
Paret y Alcázar, Luis

The sitter, dressed in the French style, plays a melody on her musical box. Her far-away expression reflects the sensibility that was fashionable in female portraits at this period. At the base of the window frame with its garland of roses, symbol of love, is the dedication: Luis Paret wishing to paint his beloved wife in colour did so in the year 1783.The painter´s wife is shown with a luxurious

The Botanical Garden seen from the Paseo del Prado
Oil on panel. 1792 - 1799
Paret y Alcázar, Luis
The Botanical Garden seen from the Paseo del Prado
Oil on panel. 1792 - 1799
Paret y Alcázar, Luis

This composition, that appears unfinished in the lower left corner, was very successful, as six replicas and contemporary copies are known to exist. Paret presents the Botanical Gardens as the backdrop, along with one of the doors designed by Francisco Sabatini in 1781. The Paseo del Prado occupies a broad space filled with a richly garbed crowd that walks and rides carriages. Here, the painter fr

The Art of War
Bronze. 1730 - 1740
Bertós, Francesco
The Art of War
Bronze. 1730 - 1740
Bertós, Francesco

The prime achievement of the Venetian sculptor Bertós was his Triumphs, virtuoso groups of cabinet sculptures formed by stylised figures intertwined in lively and complex compositions. This magnificent example represents an allegory of the art of war through the figure of Hercules with his lion skin and club, the Roman soldiers with bows and spears, and the arms on the pedestal.

Self-portrait
1770 - 1775
Paret y Alcázar, Luis
Self-portrait
1770 - 1775
Paret y Alcázar, Luis

The features of the model in Paret’s only known miniature recall those seen in other self-portraits by the artist. The style and form of the wig and the youthful face indicate a period around 1770. Note the precise rendering of the face and hair, while the painter’s characteristic diluted technique is seen in the clothing.

View of Bermeo
Hardstone. After 1783
Real Laboratorio de Piedras Duras del Buen Retiro
View of Bermeo
Hardstone. After 1783
Real Laboratorio de Piedras Duras del Buen Retiro

This anonymous mosaic was made at the Royal Laboratory of Gemstones of the Buen Retiro, which was directed by Luis Pogetti beginning in 1784. It is based on a painting by Luis Peret y Alcázer from 1783, which was part of a series on the ports of Cantabria. The series was broken up in the early nineteenth century. The present mosaic reproduces a view of the prot of bermeo, with some fisherme

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