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This full-length portrait by Pompeo Batoni shows a young English nobleman dressed in a scarlet coat, posing against the Roman countryside. The picture conforms to the Grand Tour portrait model of whic [+]
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 [+]
Francisco Javier (1757-1771), youngest son of Charles III and Maria Amalia of Saxony, was painted by Mengs in the Palace of San Ildefonso, Segovia, as were his brothers, Antonio and Gabriel. The pose [+]
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 [+]
Ferdinand III bears a sword and the globe of the world in his hands while the kneeling Moorish king presents him the keys to the city, visible in the background. A lion appears on the left, and each k [+]
Seated on an ermine robe in a chair, the Infante holds his hat in his left hand and a small bird in his right. The insignias of the Golden Fleece and the Order of Saint Jennaro hang on his chest. The [+]
Retrato de Pietro Tenerani, escultor que comenzó su formación en la Academia de Bellas Artes de Turín hasta que consiguió marchar a Roma en 1813. Se convirtió en la mano derecha del escultor Bertel Th [+]
I am still learning, from the Bordeaux Album, dates from around 1825-28, and may well be the drawing that best sums up Goya’s spirit in the final years of his life. In fact, it has become a recurrent [+]
The 10th Marchioness of Villafranca del Bierzo (1757-1795), who was also painted by Goya, was the first wife of the 16th Marquis of Astorga, an important art collector. The Marchioness has a curious h [+]
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