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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).
Utilising an almost photographic, frontal composition that enhances the naturalism of the image, Mariano Nani here depicts with great descriptive effectiveness the catch from a day’s hunting, which has just been tied with a piece of rope and suspended from nails hammered into the wall. We see a large hare, with white and hazelnut-coloured fur, hanging upside down by one of its hind legs, to allow
This canvas depicts the Flavian amphitheatre in Rome, known as the Colosseum due to the giant statue of Nero that was located nearby. Robert was notably familiar with recent archaeological discoveries and was able to imbue the building with a particular visual charm. He emphasises its monumental scale, albeit ruined by the passing of the centuries, which contrasts with the tiny, incidental nature
The Virgin sits with the Christ Child in the midst of grandiose classical architecture. She is surrounded by numerous saints in various positions. Above her, some angels prepare to crown her as Queen of Heaven. This work was sometimes thought to be a representation of The Mystical Betrothal of Saint Catherine, because of the strong presence of that saint, who is depicted kneeling before the Christ
An equestrian portrait of a picador, wearing a short bullfighting suit and hat and carrying a long pike. The background is a landscape with a river. X-rays of this work show that this picador is painted over an equestrian portrait of Manuel Godoy, who wears the sash of the Order of Carlos III, which he received in 1791, and the three-cornered hat of Commander of the Lifeguards, a title he received
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
La joven dama, que aparenta alrededor de veinte años, está sentada junto a un velador, en el que se ven varios medallones y un libro, y sobre el que descansa el codo izquierdo. Luce un magnífico traje de raso gris y rosa, con manteleta y bocamangas de encaje. La blancura de su piel y la finura de su talle le infunden una fragilidad delicada y elegante. De rostro afilado y sereno, en el que resalta
Francisco Bayeu worked as a court painter to Charles III from 1767; by 1787 -the date of this small portrait- he had produced a considerable number of decorations for the royal palaces and important churches. He reached the zenith of his brilliant career as an official painter and academician around this time, being named Director of Painting at the Royal Academy of Fine Arts of San Fernando in 17
Surrounded by courtesans and hunting servants, the governors of the Spanish Low Countries, Archduke Alberto and Archduchess Isabel, rest in the shade of a large poplar tree during one of their hunts. One of their favorite residences, Mariemont Palace, near Brussels, is visible in the background. Brueghel offers a precise, almost topographical rendering of the landscape, including certain elements
This gallant scene in French Rococo style is adapted to Spanish tastes, with the characters dressed in the traditional Madrid fashion as majos and majas. A couple dance in the center of the composition. They are flanked on the right by a group of musicians and on the left, by other couples. Like Watteau, Camarón frames a series of gallant loves scenes in a garden, the setting par excellence
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
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
Ever since this painting entered the museum, the sitter has traditionally been identified as Josefa Bayeu, Goya´s wife. However, the date of the painting doesn´t coincide with the age of the supposed model, as Josefa Bayeu died in 1812 at the age of sixty-five. Thus she would have been fifty years old by 1798, which is the date most historians attribute to this work. The present portrait, however,
In 1836, the English critic John Ruskin lavished praise on Bartolomé Esteban Murillo’s technique and identified the uniqueness of his approach: It is true that his Virgins are never such goddess-mothers as those of Correggio or Raphael, but they are never vulgar: they are mortal, but into their mortal features is cast such a light of holy loveliness, such a beauty of sweet soul, such an unf
This work recalls the philosophers and Apostles by the Baroque painter José de Ribera, albeit refining their pictorial language from the more restrained perspective of Neo-classicism. Saint Peter points to the heavens with his right hand, a gesture that encourages a reflection on the divine mysteries and also refers to his eloquence as an orator.
Five boys play at riding on each other´s shoulders in the game called “Chicken Fights” or “Horse and Rider” in a setting of hills and woods. This work is one of the cartoons for a series of gay, playful tapestries intended for the bedrooms of the infantas —the daughters of the future Carlos IV (1748-1819) and María Luisa de Parma (1751-1788)— at the El Pardo Palace in Madrid. Goya rec
This portrait is one of Dürer’s great creations. It offers a three-quarters view of an unidentified person who occupies most of the canvas. Dürer places him in front of a dark background that bears some touches of blue. The light enters from the left, bringing out the features of the face and hands and projecting the sitter’s shadow onto the background at the right, where the date and th
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