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The Infanta María Isabel of Naples, Daughter of Charles III
Oil on canvas. Ca. 1745
Ruta, Clemente
The Infanta María Isabel of Naples, Daughter of Charles III
Oil on canvas. Ca. 1745
Ruta, Clemente

The child in the portrait appears to be the Infanta María Isabel (1743-1749), the third daughter of Charles of Bourbon and Maria Amalia of Saxony, whose birth was received with special joy after the death of her two elder siblings. For this reason, she was portrayed on several occasions. She appears here as an heir being crowned by an angelic trumpeter.

Maria Anna of Neuburg, Queen of Spain, on Horseback
Oil on canvas. 1693 - 1694
Giordano, Luca
Maria Anna of Neuburg, Queen of Spain, on Horseback
Oil on canvas. 1693 - 1694
Giordano, Luca

Evoking the model of the great equestrian portraits painted for the Spanish Habsburgs by Titian, Rubens and Velázquez, Giordano offers his own idealised and triumphal depiction of Maria Anna of Neuburg. The Queen is shown in a landscape that recalls the Bay of Naples, both accompanied by allegorical figures. It is not clear if these canvases were the bases for large-scale portraits of the m

The Holy Family with Saint Augustine
Oil on canvas. 1700 - 1740
Viladomat, Antonio
The Holy Family with Saint Augustine
Oil on canvas. 1700 - 1740
Viladomat, Antonio

Using an arrow, symbol of Divine Love, the Christ Child pierces the flaming heart that the kneeling Saint Augustine (354-430), one of the Fathers of the Church, holds out to him in his right hand. The scene is taken from chapter III of Augustine’s Confessions and is depicted in this Catalan artist’s characteristically old fashioned style, evident in the figure types and the use of chiaroscuro.

Female Portrait
Oil on canvas attached to plastic. Ca. 1900
Anonymous
Female Portrait
Oil on canvas attached to plastic. Ca. 1900
Anonymous

Reproducción de un retrato pintado hacia 1740-45. La dama representada guarda cierto parecido con Luisa Isabel de Borbón (1727-1759), hija de Luis XV y María Leszczynska, esposa del infante Felipe de Borbón, duque de Parma (1720-1765). A mediados del siglo XVIII, el retrato miniatura se pintaba sobre vitela o marfil y rara vez se optó por pintar al óleo sobre naipes o chapas de cobre; es excepcion

The Painter Francisco Bayeu
Oil on canvas. 1795
Goya y Lucientes, Francisco de
The Painter Francisco Bayeu
Oil on canvas. 1795
Goya y Lucientes, Francisco de

Court Painter, Director of the Academia de San Fernando in Madrid and a key artistic figure in the period, Bayeu was Goya’s brother-inlaw and their relations were at times extremely tense. This portrait, which was commissioned by Bayeu’s daughter for display at the Academy after the artist’s death in August 1795, is based on a selfportrait, now in a private collection.Goya emphasises Bayeu’s dry a

Landscape with Figures
Oil on canvas. 1740 - 1760
Rodríguez de Miranda, Pedro
Landscape with Figures
Oil on canvas. 1740 - 1760
Rodríguez de Miranda, Pedro

Rodríguez de Miranda was a leading landscape painter during the reigns of Philip V and his successors Ferdinand VI and Charles III. These three landscapes owe a debt to the seventeenth-century Flemish tradition. The larger two form a pair, although they may have belonged to a series of panoramic views. The third, which is smaller, depicts Christ and the Woman of Samaria (John 4, 1-42).

Ruins with Saint Paul preaching
Oil on canvas. Ca. 1735
Panini, Giovanni Paolo
Ruins with Saint Paul preaching
Oil on canvas. Ca. 1735
Panini, Giovanni Paolo

This canvas forms a pair with that of Ruins with a Woman preaching. It depicts the Apostle Paul preaching, standing between the portico of a ruined temple and the temple of Vesta with the pyramid of Gaius Cestius visible in the background.

Ruins with a Woman preaching (a Sibyl?)
Oil on canvas. Ca. 1735
Panini, Giovanni Paolo
Ruins with a Woman preaching (a Sibyl?)
Oil on canvas. Ca. 1735
Panini, Giovanni Paolo

The principal focus of this canvas and its pair, Ruins with Saint Paul preaching, is the splendour of Roman ruins and the evocation of the classical tradition. Within a setting of archaeological remains, a woman who is possibly a Sibyl or prophetess addresses a varied group of figures.

Landscape with Hunters
Oil on canvas. 1753 - 1760
Giaquinto, Corrado
Landscape with Hunters
Oil on canvas. 1753 - 1760
Giaquinto, Corrado

One of the few landscapes by Giaquinto, this canvas decorated the Infanta’s bedroom in the Buen Retiro palace. The monumental hunt recreates the classical world through a harmonious vision of nature in which the inclusion of the human presence reflects the norms of 17th-century classicising landscape and the works of Annibale Carracci and Nicolas Poussin.

Saint Joseph’s Dream
Oil on panel. Ca. 1697
Giordano, Luca
Saint Joseph’s Dream
Oil on panel. Ca. 1697
Giordano, Luca

La fe de san José fue probada con el embarazo de María. Como era hombre justo y no quería ponerla en evidencia, resolvió repudiarla en secreto. Así lo había planeado cuando un ángel se le apareció en sueños y le reveló que lo engendrado en ella era obra del Espíritu Santo, renunciando a llevar adelante su primera intención (Mateo 1: 19-24).En la pintura, san José ocupa el primer plano, recostado y

Saint John the Baptist
Oil on canvas. 1688
Mignard, Pierre
Saint John the Baptist
Oil on canvas. 1688
Mignard, Pierre

An image of Saint John the Baptist as a child. He wears an animal skin and sits on a boulder from which water flows. The background is landscape. A lamb is beside him. In his right hand he holds a staff with a banner reading “Ecce Agnus Dei” (“This is the Lamb of God”). Although Mignard is primarily known as a successful portraitist, he occasionally worked in other genres. This canvas, depicting t

Mr Wildman
Oil on canvas. 1787 - 1788
Romney, George
Mr Wildman
Oil on canvas. 1787 - 1788
Romney, George

Romney stood out among the English portraitists of his time for his accuracy in depicting the appearance of his sitters, which he valued, as here, more than psychological penetration. A rival to Lawrence, he was distinguished by a more classicist concept of the genre and a more dramatic use of chiaroscuro. The sitter here seems to be James Wildman (1747–1816), although it could also be his brother

Manuela Tolosa y Aviñón
Oil on canvas. 1785 - 1788
González Velázquez, Antonio
Manuela Tolosa y Aviñón
Oil on canvas. 1785 - 1788
González Velázquez, Antonio

Retrato de la segunda esposa del pintor Antonio González Velázquez, Manuela María Teresa Cayetana Tolosa y Aviñón (Madrid, 11-7-1740 - Madrid, 7-12-1797), con quien casó el 8 de abril de 1745. De su matrimonio nacieron al menos ocho hijos, entre ellos el autor de este retrato. Sin duda, a pesar de las ligeras diferencias de tamaño, existió un deseo de hacer formar pareja a este retrato con el del

Allegory of Justice and Peace
Oil on canvas. 1753 - 1754
Giaquinto, Corrado
Allegory of Justice and Peace
Oil on canvas. 1753 - 1754
Giaquinto, Corrado

This allegorical work, signed on the column lying on the ground in the centre of the composition, shows two women in Roman garb sitting on clouds. Representing Justice and Peace, they embrace and seem about to kiss each other. This pictorial motif could be used to express political peace or, as is the case here, to allude to the peaceful policies that characterised the reign of Ferdinand VI, for w

Marie Louise d’Orléans, Queen of Spain
Oil on canvas. Ca. 1679
García Hidalgo, José
Marie Louise d’Orléans, Queen of Spain
Oil on canvas. Ca. 1679
García Hidalgo, José

Marie Louise of Bourbon (1662–1689)—or d’Orléans, as she was the daughter of the Duke d’Orléans—is represented as the Queen of Spain. Forced to abandon depictions adhering to the conventions of French portraiture in Pierre Mignard’s circle, she is here presented according to the traditional line of Spanish court portraiture. The symbols that reveal the personality given to the sitter

The Battle of San Quintín
Oil on canvas. After 1720
Anonymous
The Battle of San Quintín
Oil on canvas. After 1720
Anonymous

Los cuatro lienzos de esta serie (P186 a P189) fueron adquiridos por 1.500 pesetas a doña Pilar de la Torre el 21 de junio de 1876, en un lote de copias que forma la única serie completa conservada de los bocetos para el friso de la escalera del monasterio del Escorial [Archivo MNP, seccion direccion, serie adquisiciones, caja 106, leg. 13.1, exp. 31, doc. 1-3. «Orden Ministerial de acuerdo para l

Still Life with Shellfish, Fish and Vessels
Oil on canvas. 1710 - 1740
Viladomat, Antonio
Still Life with Shellfish, Fish and Vessels
Oil on canvas. 1710 - 1740
Viladomat, Antonio

The artist has arranged the objects in the traditional manner, locating them in the immediate foreground in order to achieve greater visual impact. The result is a simple composition but one with a marked degree of lifelikeness. It is influenced by the still lifes of similar motifs painted by the Neapolitan artist Giuseppe Recco (1634-1695), albeit without their decorative quality.

Gathering in a Garden
Oil on canvas. Mid-XVIIIcentury
Flipart, Charles-Joseph
Gathering in a Garden
Oil on canvas. Mid-XVIIIcentury
Flipart, Charles-Joseph

A group of youth play, accompanied by music in a garden setting. Two of them begin to dance, while others form small scenes of gallantry around them. This elegant courtly composition is completed by the images of the musicians. This work displays Rococo taste, showing the new French styles and customs practiced by the Spanish upper classes. The format of this work indicates that, originally, it pr

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