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Elsie Woodbury Brown
Oil on canvas. 1899
Madrazo y Garreta, Raimundo de
Elsie Woodbury Brown
Oil on canvas. 1899
Madrazo y Garreta, Raimundo de

Precediendo a otros pintores españoles como Sorolla y Zuloaga, que adquirieron gran renombre como retratistas en Madrid y en París y realizaron después numerosos retratos en los Estados Unidos de Norteamérica, Raimundo de Madrazo viajó allí en diversas ocasiones y pintó retratos del gran mundo de Nueva Inglaterra, entre los que se cuenta éste, hecho en 1899 en Nueva York. Dos años antes había real

Aline Masson with a White Mantilla
Oil on canvas. Ca. 1875
Madrazo y Garreta, Raimundo de
Aline Masson with a White Mantilla
Oil on canvas. Ca. 1875
Madrazo y Garreta, Raimundo de

A portrait of Aline Masson, Madrazo´s favorite model and the esthetic ideal of femininity in late-nineteenth-century bourgeois Paris. The white mantilla over a red embroidered shawl and the flowers in her hair link this work to the nineteenth-century French taste for Spanish things, a detail Madrazo emphasized in many of his works. This painting entered the Prado Museum as part of the Ramón

Athaulf
Oil on canvas. 1858
Madrazo y Garreta, Raimundo de
Athaulf
Oil on canvas. 1858
Madrazo y Garreta, Raimundo de

The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the

The Model Aline Masson
Oil on panel. Ca. 1876
Madrazo y Garreta, Raimundo de
The Model Aline Masson
Oil on panel. Ca. 1876
Madrazo y Garreta, Raimundo de

Aline Masson was Madrazo’s favourite model for genre paintings. Her heavy-lidded gaze and slightly defiant attitude convey the frivolous atmosphere of Paris, where Madrazo’s portraits met with great acclaim. Here, the artist displays his technical skill in using a reduced range of colours, applied with deft, confident brushstrokes.

The Engraver Bernardo Rico
Oil on canvas. Ca. 1870
Madrazo y Garreta, Raimundo de
The Engraver Bernardo Rico
Oil on canvas. Ca. 1870
Madrazo y Garreta, Raimundo de

This painting and its dedication demonstrate the friendship between Raimundo de Madrazo and Bernardo Rico (1825-1894), a leading wood engraver and the brother of the painter Martín Rico. The controlled, precise brushstroke on the face contrasts with the looser and more fluid handling of the background.

After the Bath (Female Nude)
Oil on canvas. Ca. 1895
Madrazo y Garreta, Raimundo de
After the Bath (Female Nude)
Oil on canvas. Ca. 1895
Madrazo y Garreta, Raimundo de

Madrazo shows his skill at bringing female sensuality to the fore in an intimate scene of daily toilette that recalls French Rococo. The various objects scattered on the floor have an evident erotic connotation, and so too does the nude, with soft transparencies and a profusion of vibrantly executed fabrics around her.

Josefa Manzanedo e Intentas de Mitjans, 2nd Marchioness of Manzanedo
Oil on panel. 1875
Madrazo y Garreta, Raimundo de
Josefa Manzanedo e Intentas de Mitjans, 2nd Marchioness of Manzanedo
Oil on panel. 1875
Madrazo y Garreta, Raimundo de

After establishing himself in Paris as portrait painter to the elegant and cosmopolitan high society of his time, Raimundo de Madrazo cultivated a particularly abundant clientele among the great ladies of the French capital. A posterior trip to America allowed him to expand his client base to include the leading families of New York. In the 1870s, when Raimundo was beginning to make a place for hi

The Actress María Guerrero as Doña Inés
Oil on canvas. 1891
Madrazo y Garreta, Raimundo de
The Actress María Guerrero as Doña Inés
Oil on canvas. 1891
Madrazo y Garreta, Raimundo de

This portrait is one of the most beautiful examples of the great actress María Guerrero’s (1867-1928) lifelong obsession with her own image. She began having her portrait painted by the most famous painters of her time while still an infant. This fixation was favored by her father’s friendship with many of those artists, and as a result, the Museo del Prado has several splendid likeness of

The Painter Benito Soriano Murillo
Oil on canvas. 1863 - 1867
Madrazo y Garreta, Raimundo de
The Painter Benito Soriano Murillo
Oil on canvas. 1863 - 1867
Madrazo y Garreta, Raimundo de

Benito Soriano Murillo (1827-1891) was an artist and deputy director of the Museo del Prado. He shared Raimundo de Madrazo and his family’s love of music, referred to by the guitar and piano. The elegant pose, characteristic of the French tradition that Madrazo assimilated in Paris, coexists here with the influence of Spanish portraiture and the style of the artist’s father, Federico de Madrazo.

Birthday Wishes
Oil on canvas. Ca. 1880
Madrazo y Garreta, Raimundo de
Birthday Wishes
Oil on canvas. Ca. 1880
Madrazo y Garreta, Raimundo de

Aline Masson, the painter´s model, contemplates the signet -sealed envelope she holds in her right hand, which presumably arrived with the bouquet of flowers she holds in her left. The blue robe with cottony white edging gives the scene a homey feeling appropriate to the subject, but wisely used by the painter to bring out the young woman´s fine, pale skin. This work is approached in the style of

Ramón de Errazu
Oil on panel. 1879
Madrazo y Garreta, Raimundo de
Ramón de Errazu
Oil on panel. 1879
Madrazo y Garreta, Raimundo de

This masterpiece by Raimundo de Madrazo represents his mature style in a worldly portrait painted with a personality that transcends his varied and different influences. Made a year before he was awarded first prize at the Universal Exposition of 1878 in Paris, it reveals the confidence of maturity. Moreover, this is a portrait of a very close friend who was also an outstanding collector. Errazu p

María Hahn, the Painter’s Wife
Oil on canvas. 1901
Madrazo y Garreta, Raimundo de
María Hahn, the Painter’s Wife
Oil on canvas. 1901
Madrazo y Garreta, Raimundo de

Oblivious to vindications of the intellectual and spiritual dimension of women, Raimundo de Madrazo continued to explore the sophistication of their external appearance, adjusting his portraits of his female clients to a fashion that called amidst the rise of the Suffragette movement for a return to the values and aesthetics of the eighteenth century. It was especially successful among the women o

The San Miguel courtyard in Seville
Oil on panel. 1868
Madrazo y Garreta, Raimundo de
The San Miguel courtyard in Seville
Oil on panel. 1868
Madrazo y Garreta, Raimundo de

In this scene, set in the vicinity of Seville Cathedral, Madrazo deliberately echoes the peopled landscapes produced by his close friend, the Madrid painter Martín Rico; the main focus of the scene is a group of children playing, a device commonly used in Rico’s compositions.

Pool in the Gardens of the Real Alcázar, Seville
Oil on panel. 1868
Madrazo y Garreta, Raimundo de
Pool in the Gardens of the Real Alcázar, Seville
Oil on panel. 1868
Madrazo y Garreta, Raimundo de

Two little girls play with one of the swans in the pool of the Jardín de las Damas at the Real Alcázar in Seville. Madrazo displays here his extraordinary skill with colours, particularly in the rich range of greens that dominate much of the composition, and in the marked contrast between the strongly-lit whitewashed wall and the shady area behind the arches.

Manuela de Errazu
Oil on canvas. 1870 - 1871
Madrazo y Garreta, Raimundo de
Manuela de Errazu
Oil on canvas. 1870 - 1871
Madrazo y Garreta, Raimundo de

The eldest of six children born to Joaquín María de Errazu and Guadalupe Rubio de Tejada, Manuela was born in Querétaro (Mexico) in 1839. Her family, of Spanish origin, amassed a huge fortune through the industrial development of that Central-American country. When she was fifteen years old, her parents moved to the most exclusive neighborhood in Paris. There, despite some cri

The Garden of the Fortuny Residence
Oil on panel. 1872 - 1877
Fortuny, Mariano; Madrazo y Garreta, Raimundo de
The Garden of the Fortuny Residence
Oil on panel. 1872 - 1877
Fortuny, Mariano; Madrazo y Garreta, Raimundo de

This work bears exceptional witness to the concurrence of Fortuny’s painting with that of his close friend, Raimundo de Madrazo. Begun by the former, it was completed after his death by the latter with a completely concordant style that does not, however, hide Madrazo’s own individuality. Fortuny had been living in Granada since the summer of 1870 and he spent the best days of his life there befor

The Pavilion of Charles V in the Gardens of the Alcázar of Seville
Oil on panel. 1868
Madrazo y Garreta, Raimundo de
The Pavilion of Charles V in the Gardens of the Alcázar of Seville
Oil on panel. 1868
Madrazo y Garreta, Raimundo de

In this popular scene, two people, one dressed in eighteenth century fashion, with a cape and two-cornered hat, are depicted in front of the Pavilion of Carlos V in the Gardens of the Alcázar of Seville. The presence of the man deliberately recalls the small genre scenes made popular by Madrazo’s brother-in-law, Mariano Fortuny, to whom this painting may be seen as a playful tribute.This is

Maria Christina of Austria
Oil on canvas. 1887
Madrazo y Garreta, Raimundo de
Maria Christina of Austria
Oil on canvas. 1887
Madrazo y Garreta, Raimundo de

La obra es, como indica la inscripción, un estudio del natural para un retrato de gran tamaño que, encargado en 1887 por el Ministerio de Estado, cuyo titular era Segismundo Moret, para que sirviera de modelo a los retratos oficiales de la reina, se conserva en la Embajada de España en París. En éste del Prado, la forma ovalada de la cabeza se resalta con armonía por el peinado, recogido. Los ojos

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