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The Duke and Duchess of Osuna and their Children
Oil on unlined canvas. 1787 - 1788
Goya y Lucientes, Francisco de
The Duke and Duchess of Osuna and their Children
Oil on unlined canvas. 1787 - 1788
Goya y Lucientes, Francisco de

A portrait of the Duke of Osuna, Pedro Téllez Girón (1755-1807); his wife, the Countess-Duchess of Benavente, Josefa Alonso de Pimentel (1752-1834) and their four children: Francisco de Borja (1785-1820), the following Duke of Osuna; Pedro de Alcántara (1786-1851), the future Prince of Anglona; Maria Manuela (1783-1838) and Joaquina (1784-1851), the future Marchioness of Santa

Young Woman asleep in a Hammock
Oil on copperplate. 1775 - 1778
Paret y Alcázar, Luis
Young Woman asleep in a Hammock
Oil on copperplate. 1775 - 1778
Paret y Alcázar, Luis

The hammock suggests a tropical setting, possibly Puerto Rico where Paret lived between 1775 and 1778 after he was banished by Charles III. The sumptuous curtain evokes a dream-like space, while the vase of roses and the handkerchief in the young woman`s hand refer to love, tears and the sadness of abandonment. The subject of a woman in a hammock would become popular in the nineteenth century.

Passage from the Life of Saint Francis
Oil on canvas. Second half of the XVII century
Cabezalero, Juan Martín
Passage from the Life of Saint Francis
Oil on canvas. Second half of the XVII century
Cabezalero, Juan Martín

On the shore, Saint Francis receives a young man dressed in a black habit, ruff collar and hat, whom Christ carries over the water. In the background: a boat and an embankment with two figures.This canvas is from the Carmelite convent of San Hermenegildo in Madrid, where, without describing it, Ponz lists it as a work by Cabezalero paired with another, now at the Alte Pinakothek in Munich, that i

Self-portrait of the Artist in his Studio
Oil on canvas. 1775 - 1778
Paret y Alcázar, Luis
Self-portrait of the Artist in his Studio
Oil on canvas. 1775 - 1778
Paret y Alcázar, Luis

The family of this celebrated Madrid artist was originally French, and his own aesthetic roots lie outside Spain. In this self-portrait we see him sitting in a chair with cabriole legs, dressed in sumptuous elegance. He is wearing clothes similar to those worn by the majos of Madrid (those somewhat bohemian dandies-with-attitude of the late eighteenth and early nineteenth century), but more refine

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

María Francisca de la Gándara, Dowager Countess of Calderón
Oil on canvas. 1846
López Portaña, Vicente
María Francisca de la Gándara, Dowager Countess of Calderón
Oil on canvas. 1846
López Portaña, Vicente

Born in 1786 in New Spain, María Francisca de la Gándara y Cardona was the widow of General Fñelix María Calleja del Rey, the last Spanish Viceroy of Mexico. She died in Valencia in 1855. She sits across from the viewer and looks directly at him. In her right hand she holds a breviary, marking the page where she intends to continue her interrupted reading. Her left hand

Tadea Arias de Enríquez
Oil on canvas. Ca. 1789
Goya y Lucientes, Francisco de
Tadea Arias de Enríquez
Oil on canvas. Ca. 1789
Goya y Lucientes, Francisco de

This portrait presents the lady at full length, dressed in the fashion of the time in a tulle gown with lace details. Goya perfectly captures the translucence of the fabric, through which we see the shimmer of the pink skirt the sitter wears underneath. At her waist the lady wears a wide black tulle band, which is also semi-transparent, and on the waistband she has pinned a lovely cameo brooch. He

Still life with Game: partridge, duck and other birds
Oil on canvas. 1786 - 1787
Nani, Mariano
Still life with Game: partridge, duck and other birds
Oil on canvas. 1786 - 1787
Nani, Mariano

Nani depicts a partridge and a female duck tied to a tree, a thrush and two quails, one of them already plucked and skinned in preparation for cooking. While the birds’ different states refer to various stages in the hunt, the decorative nature of the composition prevails over their realistic appearance. This canvas was commissioned by the heir to the throne, the future Charles IV, for the Royal P

Still life with Game: a hare and birds
Oil on canvas. 1786 - 1787
Nani, Mariano
Still life with Game: a hare and birds
Oil on canvas. 1786 - 1787
Nani, Mariano

According to Nani himself, this still life depicts: a “rest during the hunt with a hat on the ground” and the hunter’s bagged game. The dead animals are shown in different states: the hare still bleeding, the partridge already skinned and one of the three partridges plucked. Together, the birds present a realistic vision, albeit one subordinated to the decorative nature of the composition. This ca

Shipwreck Survivors reaching the Coast
Oil on canvas. 1793 - 1800
Pillement, Jean-Baptiste
Shipwreck Survivors reaching the Coast
Oil on canvas. 1793 - 1800
Pillement, Jean-Baptiste

As an exaltation of the power of Nature, shipwrecks were a recurrent theme in eighteenth-century painting. An admired landscape artist, Pillement painted this canvas in Pézenas, the French village where he spent his last years. His depiction of the disaster may have been influenced by the wreck of the Spanish ship San Pedro de Alcántara in Peniche near Lisbon, which he recorded in a

The Marchioness of Santa Cruz
Oil on unlined canvas. 1805
Goya y Lucientes, Francisco de
The Marchioness of Santa Cruz
Oil on unlined canvas. 1805
Goya y Lucientes, Francisco de

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

The Coronation of the Quintana
Oil on canvas. 1859
López Piquer, Luis
The Coronation of the Quintana
Oil on canvas. 1859
López Piquer, Luis

This work shows politician, poet, playwright and tutor to Queen Elizabeth II, Manuel José Quntana (Madrid, April 11, 1772- Madrid, March 11, 1857) on the day of his coronation in the Senate as Illustrious Poet (March 25, 1855).

Woman with two Boys at a Fountain (“Poor People at the Fountain”)
Oil on canvas. 1786 - 1787
Goya y Lucientes, Francisco de
Woman with two Boys at a Fountain (“Poor People at the Fountain”)
Oil on canvas. 1786 - 1787
Goya y Lucientes, Francisco de

A woman and two children collect water from a stone fountain. The bare fields and leafless tree in the background relate this scene to Winter (P0798). Romantic critics gave this painting its name, although nothing in the figures´ clothing suggest poverty. The young mother´s shawl, red stockings and black shoes with silver buckles indicate that she is a wealthy peasant. She looks with sweet underst

Cats fighting
Oil on canvas. 1786
Goya y Lucientes, Francisco de
Cats fighting
Oil on canvas. 1786
Goya y Lucientes, Francisco de

Two cats, their fur standing up and their backs arched, spit and face off on top of a brick wall. This is one of the cartoons for the Prince and Princess of Asturias´ dining room in El Pardo. As its narrow horizontal format shows, it was designed to hang over a door, a position favored by the perspective the painter gave it. Goya offers a perfect analysis of the cats´ postures, which he represents

Contemporary Poets. A Reading by Zorilla in the Painter's Studio
Oil on canvas. 1846
Esquivel, Antonio María
Contemporary Poets. A Reading by Zorilla in the Painter's Studio
Oil on canvas. 1846
Esquivel, Antonio María

The most famous of Esquivel´s pieces and a leading work of Spanish Romanticism. Considered the maximum graphical testimony to the intellectual atmosphere during the reign of Isabel II (1830 - 1904), this canvas depicts a fictitious meeting of Esquivel´s most relevant cultural contemporaries. The composition combines the complexities of a group portrait with the scheme of Flemish Baroque cabinet po

The Grape Harvest or Autumn
Oil on canvas. 1786
Goya y Lucientes, Francisco de
The Grape Harvest or Autumn
Oil on canvas. 1786
Goya y Lucientes, Francisco de

Dressed in yellow clothes that symbolize autumn, a young man sitting on a stone offers a cluster of black grapes to a lady. A boy is eager to reach the offered fruit, which is reserved for the adults. A woman stands next to them, holding a grape basket on her head, much like the classical allegory of the goddess Ceres with fruit on her head. Some grape harvesters are behind them, next to the grape

Boys with Mastiffs
Oil on canvas. 1786
Goya y Lucientes, Francisco de
Boys with Mastiffs
Oil on canvas. 1786
Goya y Lucientes, Francisco de

Two boys hold two large, muzzled mastiffs by their leads. On the collar of one dog is an incomplete inscription reading "DEL SoR", which may mean "I am in the Royal Service". The format of this cartoon suggests that the final tapestry would have hung over a door, forming a pair with Boy riding a Ram, the cartoon for which is in the Art Institute of Chicago.

Juan Bautista de Muguiro
Oil on unlined canvas. 1827
Goya y Lucientes, Francisco de
Juan Bautista de Muguiro
Oil on unlined canvas. 1827
Goya y Lucientes, Francisco de

Holding a letter in his hand, Juan Bautista de Muguiro sits beside his desk, on which an inkwell is visible. This representation exalts his stature as a banker taking care of his business. An inscription mentions that the painting was made by Goya in May, 1827, in Bordeaux, when he was eighty-one. As the painter died in April 1828, this may well be his last known work. There are some differences w

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