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This “architectural capriccio”, a popular genre in the eighteenth century due to its evocative combination of reality and fantasy, depicts an imaginary landscape with the Pyramid of Gaius Cestius in R [+]
The scene, with a distinctly genre flavour, depicts a passage from Don Quixote by Miguel de Cervantes (1547-1616). The main figure, wearing armour, kneels awaiting to be dubbed a knight; the amusing f [+]
This work belongs to a series inspired by passages from Don Quixote portrayed with the same satirical humour as in Cervantes´text. The famous knight, seated at a table, is served by innkeepers in a pa [+]
Saint John the Baptist looks out at the viewer with a direct, decided gaze. His face is framed by the diagonal lines of his arms while his body is emphasised by the pronounced chiaroscuro. The saint i [+]
This work is a preparatory sketch for a tapestry of extraordinary dimensions -nearly eight metres in length and over three metres tall- intended for the bedchamber of the Prince and Princess of Asturi [+]
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Daughter of Philip V and Isabella Farnese, the sitter was born in 1718. At the age of four her marriage to Louis XV was arranged, but this was broken off when she was seven for reasons of internationa [+]
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In this slightly more than half-length portrait, she wears a blue velvet dress with gold embroidery and reddish robes. The carnation in her left hand is a traditional symbol of betrothal in portraits [+]
Barbara of Braganza was an Infanta of Portugal, daughter of King Juan V of Portugal and of María Ana Josefa, Archduchess of Austria. Queen of Spain by marriage to Ferdinand VI of Spain.In 1725 [+]
One of the artist’s few signed works, Ranc’s depiction of the Prince of Asturias, later Ferdinand VI of Spain, subtly balances the sitter’s youthful grace and the symbolic significance of his role. Th [+]
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This drawing belongs to the Ajello Sketchbook, a group of fifty-nine unbound pencil drawings that were models for engraving to illustrate a descriptive calendar of sculptures that Philip V and his wif [+]
La figura en pie en el centro lleva en la mano una espada flameante, y en la izquierda, el escudo; en la parte baja, las figuras de los demonios, desnudos y contorsionados, ofrecen resistencia al arcá [+]
En la parte baja, Jacob recostado en tierra dormido y tras él la escala con los ángeles que suben y bajan, y en lo alto, Dios Padre.Atribuido de antiguo a Gaulli y publicado como tal, ha de ser consid [+]
La composición incluida en un rectángulo terminado en un arco mixtilíneo por ambos lados. En la parte baja, los apóstoles en pie, arrodillados y sentados rodean el sepulcro vacío de la Virgen, del que [+]
This drawing belongs to the Ajello Sketchbook, a group of fifty-nine unbound pencil drawings that were models for engraving to illustrate a descriptive calendar of sculptures that Philip V and his wif [+]
This drawing belongs to the Ajello Sketchbook, a group of fifty-nine unbound pencil drawings that were models for engraving to illustrate a descriptive calendar of sculptures that Philip V and his wif [+]
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