The itinerary <em>TITULORECORRIDO</em> has been successfully created. Now you can add in works from the Collection browser
<em>TITULOOBRA</em> added to <em>TITULORECORRIDO</em> itinerary

Search

Explore the collection

Refine results
12 results
Bouquet of Flowers with Blue Ribbon
Oil on canvas. 1780 - 1785
Paret y Alcázar, Luis
Bouquet of Flowers with Blue Ribbon
Oil on canvas. 1780 - 1785
Paret y Alcázar, Luis

This painting was purchased by Charles IV for his personal collection, but was later transferred to the royal collections. Its facture and composition are similar to those of the works of French painter Michel-Nicolas Micheux (1688-1733), in the vein of an elegantly decorative Rococo style that was, however, about to be displaced by an all-conquering Neoclassicism that swept away all forms of the

Royal Couples
Oil on canvas. 1770
Paret y Alcázar, Luis
Royal Couples
Oil on canvas. 1770
Paret y Alcázar, Luis

This canvas depicts an equestrian event that took place at the Palace of Aranjuez in 1770. It was attended by Charles III and Princess María Luisa, his daughter-in-law, who are to be seen in the second box adjoining the palace façade, and by a crowd of subtly individualised figures. On horseback at the forefront of the pairs of riders are Prince Carlos and the Infantes Gabriel and Lu

Young Woman asleep in a Hammock
Oil on copperplate. 1775 - 1778
Paret y Alcázar, Luis
Young Woman asleep in a Hammock
Oil on copperplate. 1775 - 1778
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. 1775 - 1778
Paret y Alcázar, Luis
Self-portrait of the Artist in his Studio
Oil on canvas. 1775 - 1778
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

Bouquet of Flowers with White and Blue Ribbon
Oil on canvas. 1780 - 1785
Paret y Alcázar, Luis
Bouquet of Flowers with White and Blue Ribbon
Oil on canvas. 1780 - 1785
Paret y Alcázar, Luis

This painting was purchased by Charles IV for his personal collection, but was later transferred to the royal collections. Its facture and composition are similar to those of the works of French painter Michel-Nicolas Micheux (1688-1733), in the vein of an elegantly decorative Rococo style that was, however, about to be displaced by an all-conquering Neoclassicism that swept away all forms of the

Charles III dining before the Court
Oil on panel. Ca. 1775
Paret y Alcázar, Luis
Charles III dining before the Court
Oil on panel. Ca. 1775
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

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

A panoramic representation of a celebration held, perhaps, in the Prince´s Theater in Madrid. The boxes are filled with people watching the crowd dancing on the ground floor, below. They show various emotions and sentiments, dancing and flirting to the sound of music being played by the orchestra in the main box. The innumerable figures are sketched in with clear, rapid brushstrokes, as was Paret´

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 Victorious Hannibal seeing Italy from the Alps for the first Time
Oil on canvas. 1771
Goya y Lucientes, Francisco de
The Victorious Hannibal seeing Italy from the Alps for the first Time
Oil on canvas. 1771
Goya y Lucientes, Francisco de

The Victorious Hannibal is the first documented work by Goya. He painted it in Rome in 1771 in order to submit it that year to the competition held by the prestigious Academy of Fine Arts in Parma where it received an honourable mention. In general Goya adhered to the Academy’s precise guidelines for the depiction of the subject, which is related to the history of Spain. He worked out the composit

Chastity
Pencil, Grey wash, Grey-brown wash on yellow laid paper. 1787
Paret y Alcázar, Luis
Chastity
Pencil, Grey wash, Grey-brown wash on yellow laid paper. 1787
Paret y Alcázar, Luis

Se trata de un dibujo preparatorio para la pintura al temple que decora una de las pechinas de la Capilla de San Juan del Ramo, en la Iglesia de Santa María de Viana (Navarra) en las que Paret trabajó durante los años 1786 y 1787. Compañero de D3532, D3529 y D3530. El soporte está recortado en forma de trapecio mixtilíneo y presenta cuadrícula de trasposición. En él se representa la personificació

Self-portrait
Ca. 1770
Paret y Alcázar, Luis
Self-portrait
Ca. 1770
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 fishermen in th

Up