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This drawing depicts the Christ Child sleeping on the cross with his right arm resting on a skull. Two angels, amidst clouds, watch over his sleep. There is a landscape background.This is a preparatory drawing for the print dated 1806 and dedicated to the King, which has led to the belief that the painting may have belonged to the Crown. There is also another edition, dated 1809, with the title Eg
This is a gridded drawing in black chalk. It is a preparatory study for a print, with an oval-shaped composition.The Biblioteca Nacional (National Library of Spain) has a copy of the engraving for the same print.
This is a drawing depicting the Virgin crucified on a cross made of logs. She is clothed and crowned with lights and is in a landscape.The Church of San Miguel (formerly San Justo) kept the image until the church passed into the hands of Opus Dei. It seems to be kept in an annex.The drawing was done in preparation for the print in the Biblioteca Nacional (National Library of Spain). The cartouche
This drawing depicts the scene of a girl sitting and leaning over a table. She is holding a letter in her right hand and a candle in her left.The engraving, of which there is evidence in the Biblioteca Nacional (National Library of Spain), bears the following inscription: ‘Le negligé galant. Gravé d’après le tableau original de Charles Coypel Tiré du Cabinet de Mr. Le C
This gridded drawing in black chalk depicts the Virgin seated on the ground or on an invisible low chair. She is holding an embroidery pad on her knees and is clasping her hands together with an enraptured gaze. Beside her is a sewing basket and a vase of roses and lilies.This is a preparatory drawing for the print dated 1809 and titled The Contemplative Girl, which copies a composition by Zurbar&
This is a portrait drawing of the painter in three-quarter length. He is leaning on the back of an armchair, staring at the viewer, and holding drawing charcoal in his right hand. The subject is framed in a cartouche or oval frame, in front of which we can see a palette, brushes, a painting stick, a drawing folder, and a roll of paper.As the inscription indicates, this is a preparatory drawing for
This is a gridded drawing in black chalk. It depicts the Count of Arundel, almost facing forwards and at more than half-length. He is armed and rests his left hand on the boy’s shoulder. There is drapery and a landscape background.This is a preparatory copy for an engraving of the portrait –a work from Van Dyck’s workshop– currently kept in the Museo del Prado (P2526). In the 18th century, this wa
This drawing depicts Dupuis in left profile within a circle. Underneath, appearing as would an engraved card, the description reads: ‘D. Nicolás Gabriel Dupuis. N.l. D Paris. Gravador de láminas y pensi.do por su M. Cristiannissima’.Dupuis (1698–1771) was Carmona’s teacher in Paris.
Estudio de un desnudo varonil en pie, casi de perfil, a la izquierda, acodado en un sillar, con la mano izquierda en la cadera. (Texto extractado de Pérez Sánchez, Alfonso E.: Catálogo de Dibujos. II. Dibujos Españoles. Siglo XVIII (C-Z), Museo del Prado, Madrid, 1977, p. 106).
This is a gridded drawing in black chalk. The Saint is depicted kneeling towards the left on a hassock with his hands together. His crown and sceptre lie on a cushion before him. Two child angels draw a curtain over his head.It is a preparatory drawing for the print, dated 1791. Fernando de Nestares, Marquess of la Hinojosa, owned Murillo’s painting at the time. The print was dedicated to Prince F
Manuel Salvador Carmona was the most important academic engraver in 18th-century Spain. In addition to impressions of his prints, the Museo del Prado also has a large group of his drawings, including preparatory studies for prints, life studies and portraits of his family and friends. The latter include this exceptional portrait of his wife, the painter Anna Maria Mengs (1751-1792). Depictions of
Estampa grabada por Manuel Salvador Carmona que reproduce el óleo pintado por Antón Raphael Mengs, conservado en el Museo Nacional del Prado (P02200). La lámina de cobre se la encargó a Carmona la Secretaría de Estado en 1782. Fue adquirida en 1875 por la Calcografía Nacional de Madrid, donde se conserva en la actualidad (R. 3796). El Museo conserva otros ejemplares de esta estampa (G02889, G02990
This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active.The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints o
This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints
The print is based on a painting by Antonio González Velázquez. Charles III wears the habit of a master of his own Order, and is accompanied by the allegories of Merit and Virtue. Devout and family-minded, the monarch created the Order to give thanks to the Immaculate Conception for the birth of his grandson.
This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints
This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints
This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints
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