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The Duke and Duchess of Osuna and their Children
Oil on unlined canvas. 1787 - 1788
Goya y Lucientes, Francisco de
The Duke and Duchess of Osuna and their Children
Oil on unlined canvas. 1787 - 1788
Goya y Lucientes, Francisco de

A portrait of the Duke of Osuna, Pedro Téllez Girón (1755-1807); his wife, the Countess-Duchess of Benavente, Josefa Alonso de Pimentel (1752-1834) and their four children: Francisco de Borja (1785-1820), the following Duke of Osuna; Pedro de Alcántara (1786-1851), the future Prince of Anglona; Maria Manuela (1783-1838) and Joaquina (1784-1851), the future Marchioness of Santa

Louis I, Prince of Asturias
Oil on canvas. 1717
Houasse, Michel-Ange
Louis I, Prince of Asturias
Oil on canvas. 1717
Houasse, Michel-Ange

Michel-Ange Houasse, son of the painter René-Antoine Houasse (c.1645-1710), had enjoyed a long career during the reign of Louis XIV of France (r.1643-1715). From 1715 until his death, Michel-Ange worked in the court in Madrid during the reign of the first Bourbon monarch, Philip V (r.1700-24 and 1724-46), creating interesting landscape paintings, genre scenes, religious paintings and portra

The Battle of Clavijo
Oil on canvas. 1755 - 1756
Giaquinto, Corrado
The Battle of Clavijo
Oil on canvas. 1755 - 1756
Giaquinto, Corrado

Mounted on a white steed and flanked by an angel bearing a flag, Saint James gallops over a multitude of fallen Moors and horses. The battle scene occupies a rocky landscape in the middle ground. This canvas is a sketch for the elliptical dome at the entrance to the Royal Palace’s chapel and was painted by Giaquinto between 1756 and 1757. The canvas and its corresponding fresco are clearly derived

The Glory of Saints
Oil on canvas. 1755 - 1756
Giaquinto, Corrado
The Glory of Saints
Oil on canvas. 1755 - 1756
Giaquinto, Corrado

Standing on clouds at the center of the composition, Moses points toward the sunbeams shining down from the sky. Beneath him, Abraham and Isaac are accompanied by the sacrificial lamb. To the left of the composition, Saint Laurence and Saint Steven await the palm frond of martyrdom carried by angels; and to the right, we see the strong women of the Bible and King David.This composition belongs to

The Denial of Saint Peter
Oil on canvas. 1625 - 1626
Tournier, Nicolas
The Denial of Saint Peter
Oil on canvas. 1625 - 1626
Tournier, Nicolas

This is one of the most complex compositions by Nicholas Tournier, a French follower of Caravaggio. On the right the Apostle denies Christ three times while on the left and remote from the scene, four soldiers play dice. Tournier worked in Rome until 1626 when he returned to France, where he died in 1639.

Paradise
Oil on canvas. 1754 - 1757
Giaquinto, Corrado
Paradise
Oil on canvas. 1754 - 1757
Giaquinto, Corrado

Corrado Giaquinto had frequent contacts with Spain as of 1735 or earlier. But the death of Jacopo Amigoni in 1752 led to his being summoned to Madrid the next year. During his stay in the Spanish Court, he earned the highest honors given to a painter in that era. He became First Painter to the Court in August 1753 and director of the Academy of San Fernando that December. His main mission was the

Maria Carolina of Habsburg-Lorraine, Queen of Naples
Oil on canvas. Ca. 1768
Mengs, Anton Raphael
Maria Carolina of Habsburg-Lorraine, Queen of Naples
Oil on canvas. Ca. 1768
Mengs, Anton Raphael

Daughter of the Empress María Teresa Habsburg and the Emperor Francisco I of Lorena, María Carolina Habsburg-Lorena (Vienna, 1752-1814) married Ferdinand IV of Naples in 1768, and bore seventeen children. According to Benedetto Croce, Napoleon called her “the only man in the kingdom of Naples”. She is shown here sumptuously dressed and bejeweled, against a landscape of distant trees

Tomasa de Aliaga, Widow of Manuel Pablo Salcedo
Oil on canvas. Ca. 1787
Carnicero, Antonio
Tomasa de Aliaga, Widow of Manuel Pablo Salcedo
Oil on canvas. Ca. 1787
Carnicero, Antonio

The inscription on the sheet of paper on the table records that the sitter was nursemaid to one of Charles IV’s daughters, the Infanta María Amalia (1779-1798). A typical portrait of the period, it depicts an elderly sitter of elevated social rank due to her position at Court, wearing rich clothing and jewels that indicate her wealth. This canvas has also been attributed to Agustín E

The Holy Trinity, the Virgin and Saints
Oil on canvas. Ca. 1755
Giaquinto, Corrado
The Holy Trinity, the Virgin and Saints
Oil on canvas. Ca. 1755
Giaquinto, Corrado

Corrado Giaquinto had frequent contacts with Spain as of 1735 or earlier. But the death of Jacopo Amigoni in 1752 led to his being summoned to Madrid the next year. During his stay in the Spanish Court, he earned the highest honors given to a painter in that era. He became First Painter to the Court in August 1753 and director of the Academy of San Fernando that December. His main mission was the

Roman Landscape at Sunset
Oil on canvas. 1781 - 1782
Vernet, Claude-Joseph
Roman Landscape at Sunset
Oil on canvas. 1781 - 1782
Vernet, Claude-Joseph

Claude Joseph Vernet, the most renowned eighteenth-century French landscape painter and veduttista (view painter), was known for his landscapes, seascapes, and views of Rome and Naples. Characterised by dramatic or poetic representations of storms and other atmospheric phenomena at different times of day, these works were enlivened by scenes from everyday life.Based in Rome between 1734 and 1752,

A Philosopher
Oil on panel. 1635
Koninck, Salomon
A Philosopher
Oil on panel. 1635
Koninck, Salomon

This painting enters the Museum as the work of Salomon Koninck, an attribution which remains valid until the 1963 catalogue, when, according to Valdivieso (1973), a proposal by Clotilde Brière-Misme and Horst Gerson cause it to be attributed to Abraham van den Hecken (active 1635-1655).However, despite the harsh modelling of the facial features, the compositional arrangement and, above all,

The Youthful Saint John the Baptist in the Desert
Oil on panel. 1753 - 1754
Mengs, Anton Raphael
The Youthful Saint John the Baptist in the Desert
Oil on panel. 1753 - 1754
Mengs, Anton Raphael

Painted with remarkable delicacy, probably from life, in this panel Mengs captures the artless fascination with which the saint presents to the world the message of the Redeemer’s arrival, inscribed on the scroll. The figure’s soft luminosity reveals the influence of Correggio (1493-1534), which was decisive for the early years of Mengs’s Roman period.

Olympus. The Battle of the Giants
Oil on canvas. 1767 - 1768
Bayeu, Francisco
Olympus. The Battle of the Giants
Oil on canvas. 1767 - 1768
Bayeu, Francisco

Francisco Bayeu, who came from minor nobility, trained in Zaragoza under José Luzán (who, years later, would also teach Francisco de Goya). However, a decisive change in the young Bayeu´s style came about under the influence of Antonio González Velázquez (1723-93), who visited Zaragoza soon after returning from Italy in 1752, carrying models and drawings by his Italian

Gabriel of Bourbon and Saxony, Infante of Spain
Oil on canvas. 1767
Mengs, Anton Raphael
Gabriel of Bourbon and Saxony, Infante of Spain
Oil on canvas. 1767
Mengs, Anton Raphael

Son of Charles III and Maria Amalia of Saxony, Gabriel (1752-1788) was a celebrated patron of art and a translator of the Roman historian Sallust. He wears the Cross of Malta together with the insignias of the Orders of the Golden Fleece, San Gennaro and the Saint-Esprit. Mengs introduced a sense of naturalness and dignified simplicity into royal portraiture.

Portrait of Ferdinand, Duke of Parma
Oil on canvas. 1756 - 1757
Baldrighi, Giuseppe (?)
Portrait of Ferdinand, Duke of Parma
Oil on canvas. 1756 - 1757
Baldrighi, Giuseppe (?)

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 V explica la llegada de la pintura a las colecciones reales españolas, conservando el Museo del Prado otro retrato suyo de igual procedencia que le representa en una edad algo más avanzada, debido a G

The Infante Don Gabriel of Bourbon
Pastel on paper. 1763
Tiepolo, Lorenzo
The Infante Don Gabriel of Bourbon
Pastel on paper. 1763
Tiepolo, Lorenzo

Turned halfway to the left, the sitter looks out at the viewer in this half-length portrait. He holds his hat in his left hand and, in his gloved right hand, the other glove. The insignias of the Golden Fleece and the Order of Saint Gennaro hang on his chest. F. J. Sánchez Cantón quotes a document from January 10, 1763, that expressly mentions Lorenzo Tiepolo as painting a portrait o

Alcestis and Admetus
Taille douce: etching and engraving on wove paper. Ca. 1757
Preciado de la Vega, Francisco; Vanni, Niccolo
Alcestis and Admetus
Taille douce: etching and engraving on wove paper. Ca. 1757
Preciado de la Vega, Francisco; Vanni, Niccolo

As King of Naples and Sicily, Charles of Bourbon actively promoted the excavations at Herculaneum and Pompeii, and helped bring attention to them through prints that stimulated archaeological research. Only the first volume of Le antichità was published during his Neapolitan reign, but from Spain he continued to encourage the appearance of the other volumes.

Roman oil lamps
Etching on laid paper. Ca. 1757
Casanova, Francesco; Pignataro, Carmine
Roman oil lamps
Etching on laid paper. Ca. 1757
Casanova, Francesco; Pignataro, Carmine

During his reign in Naples, Charles of Bourbon founded two institutions related to the excavations at Pompeii and Herculaneum. These were the Herculaneum Royal Academy, which published Le antichità, and the Herculanense Museum.

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