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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 [+]

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 [+]

Christ before Pilate
Oil on canvas. Ca. 1754
Giaquinto, Corrado
Christ before Pilate
Oil on canvas. Ca. 1754
Giaquinto, Corrado

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 [+]

The Sacrifice of Iphigenia
Oil on canvas. 1759 - 1760
Giaquinto, Corrado
The Sacrifice of Iphigenia
Oil on canvas. 1759 - 1760
Giaquinto, Corrado

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 [+]

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 [+]

Rocky Landscape
Oil on canvas. 1745 - 1750
Vernet, Claude-Joseph
Rocky Landscape
Oil on canvas. 1745 - 1750
Vernet, Claude-Joseph

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 [+]

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 Cour [+]

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 [+]

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 Cour [+]

Pietà
Oil on canvas. Ca. 1756
Giaquinto, Corrado
Pietà
Oil on canvas. Ca. 1756
Giaquinto, Corrado

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 [+]

Old Woman tearing at her Hair
Oil on oak panel. After 1553
Massys, Jan (Circle Of)
Old Woman tearing at her Hair
Oil on oak panel. After 1553
Massys, Jan (Circle Of)

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 [+]

The Agony in the Garden
Oil on canvas. Ca. 1754
Giaquinto, Corrado
The Agony in the Garden
Oil on canvas. Ca. 1754
Giaquinto, Corrado

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 [+]

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 i [+]

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 o [+]

Tadea Arias de Enríquez
Oil on canvas. Ca. 1789
Goya y Lucientes, Francisco de
Tadea Arias de Enríquez
Oil on canvas. Ca. 1789
Goya y Lucientes, Francisco de

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 [+]

Grammar
Marble. 1753 - 1761
Carnicero, Gregorio
Grammar
Marble. 1753 - 1761
Carnicero, Gregorio

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 [+]

The Consejo de Guerra
Marble. 1753 - 1759
Álvarez de la Peña, Manuel
The Consejo de Guerra
Marble. 1753 - 1759
Álvarez de la Peña, Manuel

Ferdinand VI, accompanied on the left and right by gowned lawyers and military figures and by a court scribe, presides over the Consejo de Guerra (Council of War), the decision-making body responsible [+]

The Siege of Sagunto
Marble. 1753 - 1761
Villanueva y Barbales, Juan de
The Siege of Sagunto
Marble. 1753 - 1761
Villanueva y Barbales, Juan de

This relief or medallion and other three more (E000459, E000474 and E000471), are part of a set of twenty-eight (although a total of forty-four had been commissioned, not all of them were made). They [+]

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