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Sitting on a stone bench beside a landscape that disappears into the distance, the girl holds various roses on a handkerchief in her lap. Her hat lies on the ground. Lost in thought, she gazes out of [+]
This singular composition, which can be dated 1775, was painted at the height of the 18th century, although, in aesthetic terms, the Baroque was already in decline as it entered its final phase. Its d [+]
In the mid-nineteenth century Federico de Madrazo produced some of the most successful portraits of the Spanish bourgeoisie during the reign of Isabel II (1833-68), presenting them with the opulence t [+]
By all indications, this panel at the Museo del Prado with the signature FERNA[N]DO GALLEG[U]S is the earliest surviving work by that painter from Salamanca. While some scholars think he must have mad [+]
The compositional structure and depiction of details reveal the artist’s ability to devise decorative elements such as garlands, flowers and scroll-work and to combine them with figures. The motifs ar [+]
A dark background and a gray table are the setting for this painting’s only motive: a merino lamb between eight and twelve months old. Still alive, it lies with bound feet in an unmistakably sacrifici [+]
A very beautiful study of Isabel de Segura, the protagonist of the nineteenth-century legend of The Lovers of Teruel, which was dramatized in verse by Hartzenbusch. The bride, prepared to marry Rodrig [+]
En el Inventario general de los cuadros de la Trinidad existentes en el depósito y escogidos por la Comisión de la Academia aparecen dos cuadros con la representación de san Juan Bautista. Dado que el [+]
Although as a genre, bodegones, or still life paintings, were considered inferior to religious scenes, history painting and portraiture, they were very popular in Early Modern Spain. Following earlier [+]
This wedding portrait by Vicente López depicts Ferdinand VII’s fourth and final wife, his niece Maria Cristina. All three of his previous spouses, María Antonia of Bourbon (1784-1806), M [+]
Maratti was a pupil of Sacchi (ca. 1599-1661). He may have painted this portrait as a pair to that of Francesco Albani by Sacchi (also on display in this room), which he acquired in 1661. It passed fr [+]
This portrait of Charles IV as the Prince of Asturias has as its pendant a portrait of his wife, María Luisa of Parma, also in the Museo del Prado (P2189). Anton Raphael Mengs had come to Spain [+]
This canvas, like P7349, is one of a group of six preparatory designs for the tapestries made for the private room of the Princess of Asturias in the Royal Palace. In each canvas a putto holds symbols [+]
The composition of this still-life follows a strict geometric schema, in the manner of Juan van der Hamen. Two baskets and two metal plates flank a dark bottle in the center of the painting, marking t [+]
La escena presenta en el centro a la Virgen sentada con el Niño, mientras que a su derecha aparecen, San José con los animales y a la izquierda los Reyes Magos con su comitiva. Al fondo se pueden apre [+]
Dibujo en el que se representa una figura masculina desnuda de frente sentada en un sillar, con la pierna izquierda doblada y apoyada en otro sillar, la mano derecha apoyada sobre la rodilla izquierda [+]
Gabriele Finaldi was the first to point out that the seated pope seems to be Pius V (Ghislieri), the Dominican, pro-Spanish pontiff who reigned from 1566 to 1572. As Cardinal Ghislieri, he held the of [+]
This work is an example of Goya’s last group of drawings, in which he shows monks and nuns removing their habits following their secularization -voluntary or forced. The drawing is a literal represent [+]
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