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Born in 1803, the boy wears the cadet’s uniform of the naval college. The whiteness of the suit and the painstaking detail of the embroidery on the jacket and cap afford the portrait its characteristi [+]
Hunting in the woods, Acteon stops on the banks of a stream when he sees Diana and her nymphs bathing nude on the opposite bank. Fascinated by their beauty, he observes them with a challenging and amu [+]
This painting is identified in the early catalogues of the Museum`s holdings with the landscape listed in the 1766 inventory of the collection of Isabella Farnese in the palace of La Granja, which, in [+]
The brightly lit figure of Isabella Farnese stands out strongly against a dark background. Her face conforms to the highly idealised and slightly inexpressive prototype that Meléndez used in hi [+]
This portrait of Philip V is based on a prototype devised by Meléndez in the 1720s. It combines a French model with the use of broad, zig-zagging brushstrokes typical of the Madrid Baroque styl [+]
This is the left panel of the Altar Piece of the Pietà, Saint Michael and Saint Catherine from the church of Santa María in Ejea de los Caballeros (Zaragoza). The painter, originally fro [+]
The sitter`s elaborate dress, the baton of command he holds in his right hand and the sword on which his left hand rest all indicate that he is a military figure. The military context in further sugge [+]
This is a condensed version in vertical format of the Adoration of the Magi at the Galleria Borghese in Rome (inv. 150), a painting that is difficult to attribute and which Arslan believed to be by Fr [+]
The apostle Saint James is shown kneeling with his hands together in prayer, offering his neck up to the sword of the executioner whoprepares to decapitate him. Standing before the apostle, wearing a [+]
Espinós structures his composition into three contrasting parts, including a mythological scene with two sculptural Olympian gods in the centre. They are surrounded by a large and colourful gar [+]
After a documented stay in Rome and a highly probable visit to Parma to study Correggio, Barocci returned to Urbino in 1576. When he painted this work for Francesco Maria II della Rovere, Duke of Urbi [+]
Saint Bernard of Siena (1380-1444) was an important figure within the Franciscan Order. Here he carries a staff with the anagram of Christ, while at his feet three mitres symbolise the bishoprics of S [+]
Este espléndido retrato forma parte de la serie que Federico de Madrazo pintara en agosto de 1875 a los hijos del artista que residían en París, formando con ellos un conjunto constituido además por l [+]
This portrait reveals the artist`s assimilation of French models, particularly those of his master, Paul Delaroche (1797-1856), who frequently used an oval format and low viewpoint in order to emphasi [+]
El retratado es Fernando de Borbón Parma (1751-1802), hijo de Felipe de Borbón, duque de Parma e infante de España, y de Luisa Isabel de Francia, hija de Luis XV. Su condición de nieto del rey Felipe [+]
Cristo camina de frente mientras que dos ángeles niños, llorosos, le flanquean.De mediados de siglo. Es posible que el dibujo reproduzca una imagen de culto en su altar. (Texto extractado de Pérez Sán [+]
En el dibujo se representa a Cristo desnudo, sentado sobre la Cruz. Un sayón en primer término cava el suelo; otro barrena en uno de los brazos. A la derecha un grupo de soldados, a la izquierda las M [+]
This drawing related to one of the Disasters was neither engraved nor published. Gassier questioned its authorship due to its scant quality: “Certain details, such as the hand visible at the center, a [+]
