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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 [+]
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 [+]
Shortly after his arrival in Spain in 1753, Giaquinto embarked on a series of eight canvases on scenes from the Passion for the King’s Oratory in the Buen Retiro Palace in Madrid. The series also incl [+]
This is a preliminary study for a scene from the Trojan War, painted for an unknown decorative scheme in the Royal Palace or another royal residence in Madrid. Agamemnon is about to sacrifice his daug [+]
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 [+]
Vernet, who studied and lived in Rome between 1734 and 1753, offers a pre-Romantic vision of the imposing landscape near the city of Caprarola, located in the Cimini Hills in Lazio. The activities of [+]
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 Cour [+]
This portrait presents the lady at full length, dressed in the fashion of the time in a tulle gown with lace details. Goya perfectly captures the translucence of the fabric, through which we see the s [+]
An accomplished heir to the Neapolitan tradition of Luca Giordano, Giaquinto reveals the extensive influence of Giordano’s figure types in this Adoration of the Shepherds. In the centre of the composi [+]
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 [+]
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 Cour [+]
A Pietà made by this Neapolitan painter during his stay in Madrid (1753-1763). The group of Christ and the angel holding him corresponds to the fresco of the Holy Trinity in the chapel at Madri [+]
On the reverse of this portrait is an old inscription in ink reading ‘MAESTRO QUINTIN’. Bosque attributed it to that artist in his catalogue, although emphasising the difference of technique between t [+]
This canvas is one of a group of eight painted by Giaquinto shortly after his arrival in Spain in 1753. It was painted for the King’s Prayer Chamber in the Buen Retiro palace. The series was devoted t [+]
The identification of this elderly gentleman sitting at a desk in his study is borne out by the inscription on the fore edge of the book he is writing in, which displays the words "rime del casellio". [+]
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 i [+]
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 o [+]
This relief or medallion and other three more (E000459, E000474 and E000472), are part of a set of twenty-eight (although a total of forty-four had been commissioned, not all of them were made). They [+]
