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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 [+]
A solemn prototype of the effigy of Charles III, who stands in armour in front of a purple hanging and a column, traditional symbols of royal power. Replica of P02200, on the occasion of the foundatio [+]
The two children portrayed here were the children of the Grand Duke of Tuscany, Leopold of Habsburg –who became Emperor of the Holy Roman Empire in 1790–, and Maria Luisa of Bourbon, daughter of Charl [+]
Hunting subjects are rare in Meléndez's work. Here, two multicolored partridges are the composition's main theme. Alongside them, in the foreground, are two cloves of garlic, some paper packages and t [+]
Saint Anthony of Padua (1195-1231) wears a Franciscan habit and meditates before a book over which the Christ Child appears. This is one of the miracles of that saint´s tradition. The spray of lilies [+]
Presented almost half-length with his face turned to the viewer, Mengs wears a velvet gown and holds the tools of his trade. The panel was painted shortly after the artist’s arrival in Spain and uses [+]
This is a fragment of Saint Joseph with the infant Christ, painted for the convent church of San Pascual in Aranjuez, and now in Detroit. Although Giambattista required the help of his son Domenico to [+]
El cuadro muestra a la futura reina de España, hija de Felipe de Borbón (1720-1765) y de Luisa Isabel de Francia, duques de Parma. Nació en la capital del ducado el 9 de diciembre de 1751; contrajo ma [+]
With the luminous serenity typical of Venetian painting, Fontebasso depicts this parable from the Gospel of Saint Matthew (25: 1-13). The bridegroom, who resembles standard images of Christ, has alrea [+]
This majestic image was part of a cycle of seven altarpieces commissioned in 1767 for the new royal church of San Pascual Bailón at Aranjuez, founded by Charles III in the same year. The altarp [+]
A depiction of a miracle in the life of Saint Francis of Assisi that took place in 1224 during the Celebration in Praise of the Holy Cross. When the saint withdrew to pray, he received the stigmata fr [+]
This vigorously modelled study, in which the priming of the canvas is left visible, relates to Mengs’s great canvas of The Ascension. Painted for the high altar of Dresden cathedral, it survived the d [+]
This highly finished study, in which the priming of the canvas is left visible, relates to one of the heads in The Ascension, painted by Mengs for the high altar of Dresden cathedral. He began the fin [+]
This canvas presents one of the most persistent subjects in Pedro Orrente´s substantial output: the Nativity and the Adoration of the shepherds, a popular theme among seventeenth-century Spanish [+]
This composition with an arched top appears here in a preparatory sketch for the corresponding canvas of the Ascension that forms part, along with the Annunciation, the Nativity and Pentecost, of a se [+]
While this work has traditionally been identified as one of the sketches that Francisco Bayeu made for the lost compositions he painted in 1796 for the cloister of the convent of San Pascual in Aranju [+]
Una inscripción en su reverso vincula este óleo sobre cobre de pequeñas dimensiones con la pintora Caterina Cherubini Preciado, esposa del también pintor Francisco Preciado de la Vega desde 1750 y jun [+]
Giordano was particularly gifted at imitating the style of some of the celebrated masters of the past, as evident in this work which evokes Raphael’s pictorial language. More than a mere exercise in i [+]
