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As Lafuente Ferrari (1941) pointed out when publishing this work, it is a significant example of the passionately baroque tone of late 17th-century painting in Madrid. The same critic mentions the clear influence of the Triumph of Saint Augustine (P664), which Claudio Coello painted thirty years earlier in 1664. And it is indeed possible to draw a certain correlation between the postures of the tw
A depiction of the port of Naples on 6 October 1759, when Charles of Bourbon (1716-1788) left for Spain, where he would reign under the name of Carlos III. son of Felipe V (1683-1746) and Isabel de Farnesio (1692-1776), Carlos was king of Naples and Sicily until his brother, Fernando VI (1713-1759) died without issue, obliging Carlos to return to Spain. The scene shows the bay of Naples with the v
Perteneciente al retablo mayor de la iglesia del colegio de Agustinos Calzados de Madrigal junto con La Adoración de los Pastores (P2471), Aparición de santa Leocadia a san Ildefonso (P5412) y la Imposición de la casulla a san Ildefonso (P5424). Registrado por Ceán (1800): MADRIGAL / COLEGIO DE AGUSTINOS CALZADOS / Seis quadros en el altar mayor con figuras del tamaño del natural, firmados en 1603
This is one of a series of eleven canvases on Christ´s Passion that Arias painted for the cloister at the convent of San Felipe el Real. Others include Jesus Washing Peter´s Feet (P5985), Christ Before Pontius Pilate, Christ Bearing the Cross encounters Veronica (P3528) and a Crucifixion.This series with scenes from the Passion was first mentioned by Palomino (1724): He made eleven paintings for t
Born in 1727, Don Luis, son of Philip V and Isabella Farnese, was destined for an ecclesiastical career since childhood and is already shown here as a cardinal. He renounced his vows in 1754 and in 1776 his brother Charles III arranged his marriage to the young María Teresa de Vallabriga, a member of the minor nobility, with the aim of ending his numerous scandalous affairs. He was also str
This painting is of considerable interest as there are very few surviving works by this artist, who was a fine example of the last generation of great decorators from Madrid. The architectural setting is notable in its resemblance to Claudio Coello´s manner, as are the figures of the angels. The color scheme is warm but rather muted, with handsome yellows, ochers and grayish greens that are
Although Ponz (Viaje de España, 1776) does not mention this painting, it certainly occupied the altar on the Gospel side of the church of Las Vallecas, where it was paired with Bayeu´s Stigmata of Saint Francis (I350), which occupied the Epistle side. The two works have identical dimensions and shape ("semicircular arch with two extended heels") (Álvarez Lopera, 2009).
This is one of a series of eleven canvases on Christ´s Passion that Arias painted for the cloister at the convent of San Felipe el Real. Others include Jesus Washing Peter´s Feet (P5985), Christ Before Pontius Pilate, Christ Bearing the Cross encounters Veronica (P3528) and a Crucifixion.This series with scenes from the Passion was first mentioned by Palomino (1724): He made eleven paintings for t
An angel appears to Saint Joseph in his sleep, pointing to the dove of the Holy Ghost as the heavens open in a luminous burst of glory. Under the dove, a group of angels carry a mirror and flowers alluding to the fact that Mary remains a virgin despite her pregnancy. On a mat alongside the saint, we see an adze, a hand drill and other carpentry tools.Saint Joseph’s Dream was a relatively frequent
An in-depth study of Joaquín Inza is yet to be conducted that would allow us to gauge his role and importance in the panorama of Spanish art in the second half of the eighteenth century. Inza is known for his portraits of the royal family and of aristocrats and intellectuals from the period, and is now regarded as an estimable and discrete painter with a precise, austere style, although som
Cuadro de la serie con escenas de la vida de san Benito que adornaban el claustro del monasterio de San Martín. Felipe de Castro (ca. 1750/1764) se limitó a señalar que "las pinturas del claustro son de mano de Fray Juan Ricci" y Ponz (V, 1776, 5.a división, párrafo 15) que "las [pinturas] de la Vida del mismo Santo en el claustro son de Fr. Juan Rizi, Religioso de la Orden; y de su misma mano son
This work is part of a series of Apostles executed by Diego González de la Vega for the Oratory of Parents of El Salvador, Madrid (Spain). When they entered the Museo de la Trinidad (1838) were listed as anonymous. Along with other works, now destroyed, the canvases at the Museo del Prado are this The Virgin Reading, Saint Peter (P3248), Saint Paul (P5472), Saint John the Evangelist (P4021)
This is a preparatory sketch for the painting of the main altarpiece of the Chapel of Saint Anthony at Madrid´s church of San Francisco el Grande. It was part of the decoration of the church promoted by King Carlos III, which was completed in 1781. Seven court painters, all members of the Academy, were commissioned to carry out one of the most important decorative projects of that period, between
This work is part of a series of Apostles executed by Diego González de la Vega for the Oratory of Parents of El Salvador, Madrid (Spain). When they entered the Museo de la Trinidad (1838) were listed as anonymous. Along with other works, now destroyed, the canvases at the Museo del Prado are The Virgin Reading (P3392), Saint Peter (P3248), Saint Paul (P5472), San Juan Evangelista (P4021),
This work is part of a series of Apostles executed by Diego González de la Vega for the Oratory of Parents of El Salvador, Madrid (Spain). When they entered the Museo de la Trinidad (1838) were listed as anonymous. Along with other works, now destroyed, the canvases at the Museo del Prado are The Virgin Reading (P3392), Saint Peter (P3248), Saint Paul (P5472), San Juan Evangelista (P4021),
This work is part of a series of Apostles executed by Diego González de la Vega for the Oratory of Parents of El Salvador, Madrid (Spain). When they entered the Museo de la Trinidad (1838) were listed as anonymous. Along with other works, now destroyed, the canvases at the Museo del Prado are The Virgin Reading (P3392), Saint Peter (P3248), Saint Paul (P5472), this Saint John the Evangelist
