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Saint John the Evangelist
Oil on panel. Ca. 1608
Pacheco, Francisco
Saint John the Evangelist
Oil on panel. Ca. 1608
Pacheco, Francisco

Esta obra formaba parte del retablo de doña Francisca de León en la iglesia del convento sevillano del Santo Ángel, junto con P01022, P01023 y P01023, que el pintor contrató en 1605. Ingresaron en el Museo en 1829 cedidos por el deán López Cepero, que los había adquirido en 1804.

Saint John the Baptist
Oil on panel. Ca. 1608
Pacheco, Francisco
Saint John the Baptist
Oil on panel. Ca. 1608
Pacheco, Francisco

Esta obra formaba parte del retablo de doña Francisca de León en la iglesia del convento sevillano del Santo Ángel, junto con P01022, P01023 y P01023, que el pintor contrató en 1605. Ingresaron en el Museo en 1829 cedidos por el deán López Cepero, que los había adquirido en 1804.

The Inquisition
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de
The Inquisition
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de

The mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter. The private and intimate character of that house allowed the artist to express himself with great liberty. He painted directly on the walls in what must

Witches' Sabbath, or the Great He-Goat
Oil on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de
Witches' Sabbath, or the Great He-Goat
Oil on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de

The mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter. The private and intimate character of that house allowed the artist to express himself with great liberty. He painted directly on the walls in what must

Asmodea
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de
Asmodea
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de

The mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter. The private and intimate character of that house allowed the artist to express himself with great liberty. He painted directly on the walls in what must

Reading
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de
Reading
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de

The mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter. The private and intimate character of that house allowed the artist to express himself with great liberty. He painted directly on the walls in what must

Saturn
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de
Saturn
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de

The mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter. The private and intimate character of that house allowed the artist to express himself with great liberty. He painted directly on the walls in what must

The 12th Marchioness of Villafranca painting her Husband
Oil on canvas. 1804
Goya y Lucientes, Francisco de
The 12th Marchioness of Villafranca painting her Husband
Oil on canvas. 1804
Goya y Lucientes, Francisco de

María Tomasa Palafox (1780-1835), Marchioness of Villafranca, is shown wearing a white empire-style dress and sitting on a red silk damask armchair, with her feet on a cushion. She is painting a portrait of her husband, Francisco de Borja Álvarez de Toledo y Gonzaga, XI Marquis of Villafranca. The Marchioness received an enlightened education from her mother, the Countess of Montijo.

Duel with Cudgels, or Fight to the Death with Clubs
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de
Duel with Cudgels, or Fight to the Death with Clubs
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de

The mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter. The private and intimate character of that house allowed the artist to express himself with great liberty. He painted directly on the walls in what must

Judith and Holofernes
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de
Judith and Holofernes
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de

The mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter. The private and intimate character of that house allowed the artist to express himself with great liberty. He painted directly on the walls in what must

The Etrurian Royal Family
Oil on canvas. 1804
Fabre, François-Xavier
The Etrurian Royal Family
Oil on canvas. 1804
Fabre, François-Xavier

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

Commerce
Tempera on canvas. 1804 - 1806
Goya y Lucientes, Francisco de
Commerce
Tempera on canvas. 1804 - 1806
Goya y Lucientes, Francisco de

Two Eastern merchants go over their accounts, leaning over a table illuminated by light flooding through a window on the left of the composition. Under their plank table are two full sacks. Two women read a book in the background and in the foreground is a bird, the traditional symbol of trust and loyalty in commercial relations. This work was commissioned by Manuel Godoy (1767-1851), prince of Pe

The Drowning Dog
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de
The Drowning Dog
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de

The mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter. The private and intimate character of that house allowed the artist to express himself with great liberty. He painted directly on the walls in what must

Two Old Men eating
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de
Two Old Men eating
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de

The mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter. The private and intimate character of that house allowed the artist to express himself with great liberty. He painted directly on the walls i

Jupiter and the Gods urging Apollo to take back the Reins of his Chariot
Oil on panel. 1594
Cornelisz. Van Haarlem, Cornelis
Jupiter and the Gods urging Apollo to take back the Reins of his Chariot
Oil on panel. 1594
Cornelisz. Van Haarlem, Cornelis

The frieze arrangement of the figures places this work in the painter`s classical phase, which began in 1594, the same year as the date on this painting. In Van Thiel`s view, it could be the picture which the Haarlem City Council acquired from the painter in 1594, and which was presented as a gift to Coenraet Dircksz. de Rechtere in around 1601-08, in gratitude for services rendered between 1574 a

Diana and a Nymph Discovered by a Satyr
Oil on canvas. 1622 - 1627
Dyck, Anthony Van (Workshop Of)
Diana and a Nymph Discovered by a Satyr
Oil on canvas. 1622 - 1627
Dyck, Anthony Van (Workshop Of)

From the 1857 Inventory of the Royal Museum through 2002, this work was listed as Diana and Endymion Discovered by a Satyr, but L. Ruiz has demonstrated that the scene is Diana and a Nymph Discovered by a Satyr, as the figure sleeping alongside Diana is female. Her body, completely covered by a bluish tunic, and her pearl necklace in no way recall Endymion’s masculine appearance. The satyr was a n

Two Women and a Man
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de
Two Women and a Man
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de

The mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter. The private and intimate character of that house allowed the artist to express himself with great liberty. He painted directly on the walls in what must

Atropos or The Fates
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de
Atropos or The Fates
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de

The mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter. The private and intimate character of that house allowed the artist to express himself with great liberty. He painted directly on the walls in what must

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