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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 [+]
Sobre una tosca mesa de madera, descrita táctilmente con los pequeños detalles de la calidad del material, visibles en nudos y muescas, aparecen desordenadamente situadas unas cuantas “peritas de San [+]
Está retratado hasta las rodillas a sus sesenta y nueve años, sentado en un sillón. Viste traje y corbata negros, chaleco marfil y un bello broche en la pechera de la camisa. En la solapa luce la vene [+]
Ferdinand IV (1751-1825) was the third son of Charles VII of Naples and his wife, Maria Amalia of Saxony. When his father acceded to the Spanish throne as Charles III in 1759, he became king of Naples [+]
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 [+]
This is a sketch for a no-longer extant painting on canvas intended to decorate a ceiling in a building of the imperial court of Russia, whose memory is preserved in an engraving made by Giambattista& [+]
Mengs painted these portraits of the heirs to the Spanish throne -the prince and princess of Asturias, Carlos de Borbón and Maria Luisa of Parma- on the occasion of their wedding. As the daught [+]
This is a preparatory sketch for a mural of Saint Teresa on clouds, accompanied by other Carmelite nuns. The saint is received by the Virgin, who points to the Holy Trinity. The composition reflects t [+]
This image of King Charles III was paired with a portrait of his wife, Maria Amalia of Saxony (P2201), although the image of the queen was not painted in her presence. Instead, it was invented on the [+]
Attributed to Goya until 2008, new art historical and technical studies led to a reconsideration of the painting’s attribution, particularly following the tentative reading of the marks in the lower l [+]
These two paintings (P7804 and P7805) are part of a series on similar subjects, yet they stand out among Giandomenico`s work. These works are small depictions of everyday life in Venice, exquisitely r [+]
This is a preparatory sketch for a larger canvas in the Museo del Romanticismo (Madrid). It depicts the seated Virgin with the Christ Child between her knees. Behind them, Saint Anne looks up to heave [+]
Mary Magdalene, recognisable by her beauty, semi-nudity and the skull -a symbol of meditation on death- prays before a cross made from a branch. Based on a celebrated seventeenth-century Bolognese pai [+]
This portrait of a man in a wig has the subtle psychological penetration typical of Gainsborough’s portraits executed in Bath in the 1760s. Its austere, apparently simple composition reveals the techn [+]
Traditionally catalogued as a work from Tintoretto´s youth, the dating of this painting has been moved to the late fifteen-seventies by recent studies. The artist draws on the Bible story (Judith 13, [+]
Elegantly dressed nobles with swords, capes and sunshades join the lower-class majos and majas on the banks of the river Manzanares and indulge in gambling, dancing and fishing. This is a sketch for a [+]
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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 [+]
