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During his visit to Valencia in 1802, the Literary University of the city gave the King this painting which shows the university, personified as a young matron, introducing the royal family to the various faculties: Theology, Law, Philosophy and Medicine. They are accompanied by the goddess Minerva, who points to Peace, Victory and Abundance, who fly over this symbolic reception.
In the eighteenth century, kites were an ideal subject for representing nature at its most sublime. Here the kite is blown by the wind to a dizzy height, where a dark cloud charged with electricity threatens danger for the young people below. The painting formed part of a series of six landscapes destined for the Casita del Príncipe at El Escorial, three of which are preserved at the Prado
The man in the portrait, wearing his palace uniform, holds in his left hand a bundle of “royal orders”. The painting follows the style of portraits of professionals that López worked on in his years at the service of Fernando VII, in which he stressed the sitter’s job through the tools of his trade.
This portrait of the wife of the banker Henry O’Shea reveals the British influence on Madrazo’s fully romantic period. Her social position is indicated by the quality of the fabrics, laces and jewels, and by the elegant arrangement of the hands. The books allude to the culture of this lady, who was a friend to the writer Washington Irving.
Claude Joseph Vernet, the most renowned eighteenth-century French landscape painter and veduttista (view painter), was known for his landscapes, seascapes, and views of Rome and Naples. Characterised by dramatic or poetic representations of storms and other atmospheric phenomena at different times of day, these works were enlivened by scenes from everyday life.Based in Rome between 1734 and 1752,
Born in 1728, José Moñino studied law in his native city of Murcia, and in Orihuela. In 1756 he was appointed Attorney to the Coucil of Castile and in 1766, Procurer of Castile. As Spain´s Ambassador to Rome in 1773, he managed the dissolution of the Jesuits, which earned him the title of Count of Floridablanca. In 1777, he became the First Secretary of State and of Office. His progr
The sitter is the First Count Colomera (1723-1819), a distinguished soldier who served in the Spanish army during various successive reigns. The canvas uses numerous devices typical of Baroque descriptive portraiture although dating from a period when that style was in decline. The sitter is dressed as a minister with the sash of the rank of Captain General and the grand cross of the Order of Char
Joaquina Téllez-Girón y Pimentel (1784-1851) was the daughter of the Duke and Duchess of Osuna and Marchioness of Santa Cruz by her marriage to José Gabriel de Silva y Walstein in 1801. A friend of poets and literati, she was one of the most admired women of her time. Goya presents her wearing white crêpe and reposing on a canapé upholstered in red velvet. She is
This is a family portrait of María Luisa Josefa de Borbón (1782-1824) and her children, Carlos Luis and María Luisa Carlota de Borbón-Parma, painted during the time that María Luisa was regent of Etruria following the death of her husband, Louis I. The inclusion in this portrait of symbols such as the throne, canopy, red footstool, crown and column all identify t
This portrait of the family of King Carlos IV (1748-1819) was painted in Aranjuez and Madrid in the spring and summer of 1800, shortly after Goya was named First Chamber Painter. It clearly show´s the artist´s mastery at individualizing characters. The forerunners to this complex composition are Louis-Michel van Loo´s Portrait of Felipe V and his Family (P02283) and Velázquez´s Las Meninas
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
This cartoon delivered in 1777 was for a tapestry to hang over the door of the king and queen´s dining room at the El Pardo Palace. It depicts a popular scene with five female figures. Two are playing percussion instruments that are shown in detail. The one standing on the right plays a round tambourine with jingles, holding it in her left hand and striking it with her right. The one sitting
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.
Goya expresses the greater importance of this composition through the larger size of the figures, compared to its companion work, Tobias and the Angel (P07856). The wood shavings on the floor indicate that the scene takes place in Saint Joseph´s austere carpentry shop. The Virgin and Saint Joseph —holding his flowering staff— sadly reflect on their child´s destiny, which is foreshadowed by the woo
Painted in Florence, this canvas depicts Prince Luis I of Parma (1773-1803), who had died the previous year, and his wife, the Infanta María Luisa (1782-1824), daughter of Charles IV of Spain and María Luisa of Parma. Also included are their children, Carlo Ludovico (1799-1883), heir to the throne, and María Luisa Carlota (1802-1857), future wife of Maximilian, Prince of Saxon
Considerado como obra de Antonio Carnicero (1748-1814), Arturo Ansón Navarro (2012) lo atribuyó a Ramón Bayeu por motivos estilísticos y por su relación documental con una serie de retratos de la familia real pintados por Bayeu hacia 1791. Según estos documentos, Ramón Bayeu, nombrado pintor de cámara el 20 de abril de 1791, pintó en ese año y en el Real Sitio de Aranjuez los retratos de varios hi
This devotional painting illustrates an Old Testament story (Tobias 6, 1-8) in which Tobias meets the Archangel Raphael. The story of the two Tobias, father and son, is a model of Jewish piety and the father foreshadows the suffering of Christ´s Passion. He was faithful to the Law of God in the midst of generalized abuse and was put to the test on various occasions, always successfully. This
The group of the Virgin and Child is located on a high pedestal beside a Salomonic column, flanked by Saints Lawrence, Lucy, Anthony of Padua and Barbara, with a guardian angel and a child below. This canvas was commissioned from Cignarolli, a Veronese painter, in 1759 by the Duke and Duchess of Parma on behalf of Queen Isabella Farnese for the chapel in the Palace of Riofrío. It later pass
