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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
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
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.
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
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
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
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´
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 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
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
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.
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
