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While it is not listed in any known inventory, this canvas´s provenience from the convent of Los Carmelitas Descalzos in Toledo is certain, as it was coupled there with Saint Joseph with the Chr [+]
Upon the death of Charles III, Goya was asked to paint portraits of the new monarchs, Charles Bourbon IV and his wife, María Luisa of Parma. As a recently named Royal Painter, the artist was re [+]
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When describing the work of this prolific painter of still lifes, it is frequently said that Luis Meléndez included only commonplace objects in his canvases; this painting, in fact, offers the [+]
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The Painter Aureliano de Beruete is the most outstanding of all the portraits made by Sorolla. In this work he successfully combined the Velázquez inspiration that was a feature of his oeuvre d [+]
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Meléndez’s works are characterized by his interest in familiar, everyday realities, which he places in the immediate foreground as if seeking direct contact with the viewer. And yet, in the con [+]
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Luis Meléndez distinguished himself as the greatest bodegón, or still-life, painter in late eighteenth-century Spain. By this time, the popularity of the genre had declined in Spain and [+]
Oil on panel. Signed. [+]
In 1724, Antonio Palomino, who had been Juan Carreño de Miranda’s disciple, included his teacher’s biography in his Parnaso español pintoresco y laureado. Their close relationship makes [+]
This is a preparatory sketch for The Family of Charles IV. Don Francisco de Paula (1794-1865) was the youngest child of María Luisa and popularly rumoured to be the son of Manuel Godoy. In 1819 [+]
The painting belongs to the type of still life designated by Vroom as monochrome banketjes, pieces first executed by Heda towards the end of the 1620s that became very popular in the Netherlands and a [+]
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 paint [+]
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 cle [+]
Herod and Herodias appear at the right of the composition. Sitting at a table painted in foreshortened perspective, they look on—the king with a stupefied expression—as Salome presents them with the p [+]
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