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Allegory of Fame
Oil on canvas. Ca. 1775
Castillo, José del
Allegory of Fame
Oil on canvas. Ca. 1775
Castillo, José del

This singular composition, which can be dated 1775, was painted at the height of the 18th century, although, in aesthetic terms, the Baroque was already in decline as it entered its final phase. Its decorative conception echoes the refinement of the rococo, although it draws much of its material from the anaglyphic repertory of the mature Renaissance—conveniently polished—when artists were recover

Saint Anthony of Padua with the Infant Christ
Oil on canvas. 1767 - 1769
Tiepolo, Giovanni Battista
Saint Anthony of Padua with the Infant Christ
Oil on canvas. 1767 - 1769
Tiepolo, Giovanni Battista

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 in the foreground is one of his iconographical symbols, and is accompanied here by the basket that symbolizes the alms on which that saint lived. This work was designed for an altar in the church of S

Anne Sawbridge
Oil on canvas. 1767 - 1770
Cotes, Francis
Anne Sawbridge
Oil on canvas. 1767 - 1770
Cotes, Francis

This exquisitely refined female portrait is imbued with the profound sense of poetry characteristic of the artist’s late works. Dressed in a classical style gown, she is set against a background of clouds and evening light, creating a nostalgic, pre-Romantic mood. Daughter of Sir William Stephenson, in 1766 the sitter married John Sawbridge of Olantigh, a Kentish landowner and Lord Mayor of London

Still Life with Limes, Box of Jelly, Butterfly and Vessels
Oil on canvas. Third quarter of the XVIII century
Meléndez, Luis Egidio
Still Life with Limes, Box of Jelly, Butterfly and Vessels
Oil on canvas. Third quarter of the XVIII century
Meléndez, Luis Egidio

Some limes, laid out with the artist's habitual disorder, occupy almost half the canvas. Behind them, a honey pot of the popular green-glazed type from Biar or Lucena shows the painter's eye for detail. In the background, a box of jelly lies open on a castañuela plate. Behind it, a silver or pewter saucer holds a Tonalá type Mexican ceramic cup. The butterfly hovering over it all is interesting fo

Still Life with Melon, Figs, Apples, Wineskin, and Picnic Hamper in a Landscape
Oil on canvas. Third quarter of the XVIII century
Meléndez, Luis Egidio
Still Life with Melon, Figs, Apples, Wineskin, and Picnic Hamper in a Landscape
Oil on canvas. Third quarter of the XVIII century
Meléndez, Luis Egidio

The blind Musician
Oil on canvas. Ca. 1786
Bayeu y Subías, Ramón
The blind Musician
Oil on canvas. Ca. 1786
Bayeu y Subías, Ramón

Ramón Bayeu, the younger brother of Francisco Bayeu, received similar training to his brother and won first prize in a competition organised by the Royal Academy of Fine Arts of San Fernando in 1766. Beginning in 1775, he worked under the direction of his brother, producing cartoons for tapestries with genre scenes for the Royal Tapestry Manufactory. A skilful painter of frescoes, he was em

The Holy Family with the Infant Saint John the Baptist
Oil on canvas. 1775 - 1780
Goya y Lucientes, Francisco de
The Holy Family with the Infant Saint John the Baptist
Oil on canvas. 1775 - 1780
Goya y Lucientes, Francisco de

The pyramidal composition and precise, polished forms of both the bodies and the drapery, all emphasised by the intense illumination, indicate the continuing and direct influence of Anton Rafael Mengs.The treatment of the subject also recalls the works of Goya’s Italian period, during which time he was able to study numerous paintings of this subject. The figures of the children are comparable to

The Immaculate Conception
Oil on canvas. 1767 - 1769
Tiepolo, Giovanni Battista
The Immaculate Conception
Oil on canvas. 1767 - 1769
Tiepolo, Giovanni Battista

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 altarpieces comprised the entire pictorial decoration of this Alcantarine Franciscan church, which was built in an austere classical style. The subjects of the altarpieces reflected some of the most importa

General José de Palafox on Horseback
Oil on canvas. 1814
Goya y Lucientes, Francisco de
General José de Palafox on Horseback
Oil on canvas. 1814
Goya y Lucientes, Francisco de

This portrait of José Rebolledo de Palafox y Melci (1775-1847), Field Marshal of Zaragoza, commemorates his defense of the city in 1808 when it was besieged by the French during the War of Independence. Palafox became a symbol of patriotic resistence to the invader when he refused to capitulate despite the terrible state in which his city and its defenders found themselves. Goya seems to ha

Execution of Torrijos and his Companions on the Beach at Málaga
Oil on canvas. 1888
Gisbert Pérez, Antonio
Execution of Torrijos and his Companions on the Beach at Málaga
Oil on canvas. 1888
Gisbert Pérez, Antonio

The finest work of all Gisbert’s production, this impressive painting is also unarguably one of the most beautiful of all 19th-century Spanish history paintings. Moreover, it is one of the greatest political manifestos of all Spanish painting in defense of human freedom crushed by authoritarianism and one of the very few cases in which a clear propagandistic message was directly inspired by govern

Allegory of Smell
Oil on canvas. 1775
Lagrenée L'aîné, Louis-Jean-François
Allegory of Smell
Oil on canvas. 1775
Lagrenée L'aîné, Louis-Jean-François

Lagrenèe, a member of the Paris Royal Academy of Painting and Sculpture, trained under Carle van Loo (1705-1765). He travelled in Italy, and worked for the French and Russian courts. This painting is one of a series -the Five Senses- which included the Allegory of Touch, also in the Prado. Both were commissioned by a British nobleman.

Ferdinand VII as a Boy
Oil on canvas. 1792 - 1793
Bayeu y Subías, Ramón
Ferdinand VII as a Boy
Oil on canvas. 1792 - 1793
Bayeu y Subías, Ramón

Representa a Fernando VII niño de unos ocho o nueve años, en traje azul con faja roja y condecorado con el Toisón de Oro y las insignias de la Orden de Carlos III, en concreto la gran cruz y la banda nueva con sus tres fajas iguales establecida en junio de 1792. Atribuido a Antonio Carnicero (1748-1814) en el inventario del Palacio Real de 1814 y a Joaquín Inza (1736-1811) a su ingreso en el Museo

Decoy Hunting
Oil on canvas. 1775
Goya y Lucientes, Francisco de
Decoy Hunting
Oil on canvas. 1775
Goya y Lucientes, Francisco de

This is a hunting stand with two caged birds as decoys, a crouching dog, and a net on the tree that frames the group. The study of the birds and dog, as well as the bush in the foreground, reveal Goya´s interest in flora and fauna, which he paints with precision. The mitte owl, a nocturnal bird, is quite similar to the owl Goya used in his drawings and etchings as a personification of evil f

Still Life with Oranges, Melon and Boxes of Sweets
Oil on canvas. Third quarter of the XVIII century
Meléndez, Luis Egidio
Still Life with Oranges, Melon and Boxes of Sweets
Oil on canvas. Third quarter of the XVIII century
Meléndez, Luis Egidio

Hunting Party
Oil on canvas. 1775
Goya y Lucientes, Francisco de
Hunting Party
Oil on canvas. 1775
Goya y Lucientes, Francisco de

Goya uses a single work to present two types of hunting —on foot and on horseback— and various types of individuals. In the foreground, one hunter shoots quail while another follows his dog, which smells prey hiding among the bushes. In the background, two riders hunt a hare being coursed by greyhounds. The study of animals and movement is this work´s greatest contribution. The white horse is base

Philip II
Oil on canvas mounted on panel. XVI century
Anonymous
Philip II
Oil on canvas mounted on panel. XVI century
Anonymous

María Antonia Gonzaga, Dowager Marchioness of Villafranca
Oil on unlined canvas. Ca. 1795
Goya y Lucientes, Francisco de
María Antonia Gonzaga, Dowager Marchioness of Villafranca
Oil on unlined canvas. Ca. 1795
Goya y Lucientes, Francisco de

This portrait of María Antonia Gonzaga y Caracciolo (1735-1801), the dowager Marchioness of Villafranca, corresponds to the period in which Goya executed his two portraits of her eldest son, José Álvarez de Toledo (one now in the Museo del Prado and the other in the Art Institute of Chicago). Her son was the eleventh Marquis of Villafranca and Duke of Alba through his marriage

The Viaticum
Oil on canvas. 1840
Alenza, Leonardo
The Viaticum
Oil on canvas. 1840
Alenza, Leonardo

Leonardo Alenza y Nieto was, without doubt, the painter par excellence of romantic costumbrismo from Madrid. (Costumbrismo refers to nineteenth-century genre scenes representing folkloric subjects and local customs.) Alenza is traditionally considered a follower of Goya for the application of his sharp, honest skills of observation to the least favoured social classes in the Spain of his era, at t

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