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Boy with a Wicker Basket
Oil on canvas. Ca. 1786
Bayeu y Subías, Ramón
Boy with a Wicker Basket
Oil on canvas. Ca. 1786
Bayeu y Subías, Ramón

This cartoon for a tapestry to be placed over a door or window shows a street vendor, a subject based on the popular and very widely distributed etchings by the Bolognese artist Annibale Carracci (1560-1609). This work of extraordinary refinement is notable especially for the boy`s noble pose, a masterly rendition by the artist of the attempts by enlightened reformers to revitalise and dignify man

Mariana Victoria of Spain
Oil on canvas. 1724
Largillierre, Nicolas de
Mariana Victoria of Spain
Oil on canvas. 1724
Largillierre, Nicolas de

Daughter of Philip V and Isabella Farnese, the sitter was born in 1718. At the age of four her marriage to Louis XV was arranged, but this was broken off when she was seven for reasons of international politics. In 1729 María Ana married José, Prince of Brazil and future King of Portugal. Largillierre specialised in portraiture. He painted the present canvas in Paris, using a virtuos

Majo with a Guitar
Oil on canvas. Ca. 1786
Bayeu y Subías, Ramón
Majo with a Guitar
Oil on canvas. Ca. 1786
Bayeu y Subías, Ramón

The effect of the majo’s singing and playing is evident in the profound emotion on the face of the woman in the foreground, reflecting the refined sentimentality to which art of this period aspired. This canvas is a close copy of a preparatory sketch by Francisco Bayeu, Ramón’s brother, which was subsequently included in the work Thirteen Preparatory Designs for Cartoons for Tapestries, als

Diana bathing with her Nymphs
Oil on copperplate. Ca. 1624
Poelenburch, Cornelis Van
Diana bathing with her Nymphs
Oil on copperplate. Ca. 1624
Poelenburch, Cornelis Van

The scene here unfolds in the foreground, which is occupied by a large rocky outcrop and trees and on the right opens onto a luminous landscape enclosed by mountains in the background. The spatial transition between the dark foreground and luminous background is still somewhat awkward. In the figures the brushwork is smooth and uniform, giving the nudes a pearly appearance, whereas in the landscap

View of the Port of Santa María
Oil on canvas. 1781 - 1785
Sánchez, Mariano Ramón
View of the Port of Santa María
Oil on canvas. 1781 - 1785
Sánchez, Mariano Ramón

Trained from childhood at the Academy of San Fernando in Madrid, Mariano Sánchez specialized in landscapes and views. Contemporary documents reveal also a talent for miniatures and portraits, which took him to Lisbon in the service of the King of Portugal. In 1781, King Charles III commissioned him to paint a series of 118 vistas of ports, bays, islands, and arsenals in Spain. In 1803, for

The Carnation Seller
Oil on canvas. Ca. 1786
Bayeu, Francisco
The Carnation Seller
Oil on canvas. Ca. 1786
Bayeu, Francisco

Scenes of street vendors proliferated in eighteenth-century Spain, as they had in France, England and Italy, both because of the picturesque nature of their street cries and their apparel, and because they were regarded from then on as a true reflection of national identity. Here, however, Bayeu gives his carnation seller a curiously melancholy air, hitherto unexplained.

Jesus in the House of Annas
Oil on canvas. 1803
Madrazo y Agudo, José de
Jesus in the House of Annas
Oil on canvas. 1803
Madrazo y Agudo, José de

This religious scene with its life-size figures, is treated in the sober manner usually applied to scenes from Roman history. It was the first major painting produced by Madrazo whilst training in Paris under Jacques-Louis David, and earned him an increase in his grant from Charles IV, enabling him to continue his studies in Rome.

Moses striking the Water from the Rock
Oil on canvas. Ca. 1640
Assereto, Gioacchino
Moses striking the Water from the Rock
Oil on canvas. Ca. 1640
Assereto, Gioacchino

Moisés sacia la sed del pueblo de Israel durante su travesía del desierto (Exodo, 17, 3-7). Assereto es uno de los pintores más importantes de la escuela genovesa. En su estilo influyeron Giulio Cesare Procaccini, Bernardo Strozzi y Cerano. Adquirido en Sevilla por Isabel de Farnesio, ha sido atribuido a pintores sevillanos, como Roelas, Llanos Valdés o Legote. En 1781 el Conde del Águila decía qu

The Death of Viriatus, Chief of the Lusitanians (preparatory sketch)
Oil on canvas. Ca. 1807
Madrazo y Agudo, José de
The Death of Viriatus, Chief of the Lusitanians (preparatory sketch)
Oil on canvas. Ca. 1807
Madrazo y Agudo, José de

This preparatory sketch for the large-scale canvas painted by Madrazo in Rome (also on display in this room) reveals various differences with respect to the final composition. Madrazo gave more space to the tent in the upper part of the sketch, which he subsequently reduced. There are also differences in the figures and in the landscape with the camp on the far right, which he enlarged.

Ransom of Captives in the Times of Charles III (sketch)
Oil on canvas. Ca. 1813
Aparicio e Inglada, José
Ransom of Captives in the Times of Charles III (sketch)
Oil on canvas. Ca. 1813
Aparicio e Inglada, José

A preparatory sketch for the painting of the same name, which has disappeared from the Museo del Prado’s collections. It commemorated the ransom of a large number of captives in Algiers in 1768 by order of Charles III. The memory of this king was exalted during the reign of his grandson, Ferdinand VII, as a model for the prestige of the monarchy

Segismundo Moret y Quintana
Oil on canvas. 1855
Madrazo y Kuntz, Federico de
Segismundo Moret y Quintana
Oil on canvas. 1855
Madrazo y Kuntz, Federico de

This portrait provides exceptional testimony to Federico de Madrazo´s fully mature style, which made him the greatest Spanish portrait artist of the middle decades of the nineteenth century. Painted at the pinnacle of his career, Madrazo has combined the technical refinement of the French academic portrait -inspired by the work of Jean-Auguste-Dominique Ingres, a friend of his father´s- with the a

The rustic Offering
Oil on canvas. Ca. 1786
Bayeu y Subías, Ramón
The rustic Offering
Oil on canvas. Ca. 1786
Bayeu y Subías, Ramón

A handsome dandy gallantly offers fruit to a seated lady accompanied by her maid. This seductive, erotic gesture arouses the young woman’s emotions while in the background a cloaked majo jealously observes the aristocratic delicacy of the amorous encounter. This canvas is a close copy of a preparatory sketch by Francisco Bayeu, Ramón’s brother, which was subsequently included in the work Th

Still Life with Fruit and a Crystal Vase
Oil on panel. 1781
Ferrer, José
Still Life with Fruit and a Crystal Vase
Oil on panel. 1781
Ferrer, José

This still life's subject matter, its mixture of fruit and flowers, its use of glass, earthenware and wicker containers, and its stepped composition, are common characteristics of that genre since its earliest decades in Spain. There are, however, certain differentiating aspects that indicate this work is from an advanced period. That is the case of the type of basket holding the apples and pears,

Landscape with Waterfall
Oil on canvas. 1781 - 1782
Vernet, Claude-Joseph
Landscape with Waterfall
Oil on canvas. 1781 - 1782
Vernet, Claude-Joseph

Admired by a group of Roman soldiers while a peasant passes with fishing gear, a grandiose waterfall plunges down from a high mountain. In common with the rest of the series to which this painting belongs, destined for the Casita del Príncipe at El Escorial, this results in the sublime effect characteristic of the landscape painting of the period.

Ferdinand VII on horseback
Oil on canvas. 1821
Madrazo y Agudo, José de
Ferdinand VII on horseback
Oil on canvas. 1821
Madrazo y Agudo, José de

For many years the large-scale definitive version was the only painting of Ferdinand displayed to the public in the museum he had founded. He is shown as commander-in-chief of the Spanish armed forces beside an oak tree that refers to the virtues of the good ruler.

The Ham and Sausage Seller
Oil on canvas. Ca. 1786
Bayeu y Subías, Ramón
The Ham and Sausage Seller
Oil on canvas. Ca. 1786
Bayeu y Subías, Ramón

Cartoon for a tapestry in the Ambassadors’ Hall at El Escorial, painted after a sketch by Francisco Bayeu. The seller of ham and sausage, accompanied in the distance by a water seller, is an eighteenth-century Spanish reflection, with the popular costumes of the period, of the tradition of compositions on street vendors that was established in Italy in the early seventeenth century.

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 Immaculate Conception
Oil on canvas. Ca. 1781
Maella, Mariano Salvador
The Immaculate Conception
Oil on canvas. Ca. 1781
Maella, Mariano Salvador

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

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