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Ferdinand IV, King of Naples
Oil on canvas. 1760
Mengs, Anton Raphael
Ferdinand IV, King of Naples
Oil on canvas. 1760
Mengs, Anton Raphael

Ferdinand IV (1751-1825) was the third son of Charles VII of Naples and his wife, Maria Amalia of Saxony. When his father acceded to the Spanish throne as Charles III in 1759, he became king of Naples. The sitter wears the Orders of the Golden Fleece and San Gennaro. His childish grace contrasts with the courtly pomp of the setting.

Self-portrait
Oil on canvas. 1810 - 1813
González Velázquez, Zacarías
Self-portrait
Oil on canvas. 1810 - 1813
González Velázquez, Zacarías

A member of a dynasty of artists that began with his grandfather, the sculptor Pablo González Velázquez (1664-1727), Zacarías González Velázquez initially trained with his father, the painter Antonio González Velázquez (1723-94). In 1777, he joined the Royal Academy of Fine Arts of San Fernando, an institution to which he remained tied for the rest

Antonio Ugarte and his wife, Maria Antonia Larrazábal
Oil on canvas. 1833
López Portaña, Vicente
Antonio Ugarte and his wife, Maria Antonia Larrazábal
Oil on canvas. 1833
López Portaña, Vicente

Don Antonio Ugarte, a prominent member of the entourage of Ferdinand VII, and his wife, posed for the first painter to the king, with an evident penchant for ostentation. He is wearing the full-dress uniform of the king’s secretary, including the cane and hat resting on the table, and also boasts different badges of office and honours. She, dressed in Imperial garb and adorned with splendid jewels

Execution of Torrijos and his Companions on the Beach at Málaga
Oil on canvas. 1888
Gisbert Pérez, Antonio
Execution of Torrijos and his Companions on the Beach at Málaga
Oil on canvas. 1888
Gisbert Pérez, Antonio

The finest work of all Gisbert’s production, this impressive painting is also unarguably one of the most beautiful of all 19th-century Spanish history paintings. Moreover, it is one of the greatest political manifestos of all Spanish painting in defense of human freedom crushed by authoritarianism and one of the very few cases in which a clear propagandistic message was directly inspired by govern

Portrait of Jacopo Bassano
Oil on canvas. First quarter of the XVII century
Bassano, Leandro
Portrait of Jacopo Bassano
Oil on canvas. First quarter of the XVII century
Bassano, Leandro

Although in 1660 Boschini mentioned a Self-Portrait of Jacopo Bassano in the Aromatario collection in Venice, the only surviving versions are replicas attributed to Leandro. The Prado work is identical to the one housed at the Galleria degli Uffizi in Florence (inv. 1.825; at times attributed to Francesco); there is a third known version that is very similar to the first two but of greater iconogr

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).

Pedro Benítez and his Daughter María de la Cruz
Oil on canvas. Ca. 1820
Tegeo Díaz, Rafael
Pedro Benítez and his Daughter María de la Cruz
Oil on canvas. Ca. 1820
Tegeo Díaz, Rafael

In this portrait, Pedro Benítez sits informally on a chair, resting his left arm on its back while gazing frankly and directly at the viewer with whom he establishes an empathetic relationship. He is dressed in the fashion of the reign of Ferdinand VII, with a marvellous cravat emerging from his vest and a book in his right hand. Beside him, standing, is his daughter María de la Cruz

Self-portrait
Oil on canvas. Ca. 1830
Cruz y Ríos, Luis de la
Self-portrait
Oil on canvas. Ca. 1830
Cruz y Ríos, Luis de la

Retratado de busto prolongado, su rostro, de cabellera ondulada y cenicienta, parece representar unos 55 años. Viste uniforme de Secretario de Cámara, sobre el que ostenta la cruz, placa y banda de la orden de la Espuela de Oro, otorgada al pintor por el Papa Pio VII, además de la placa de comendador de la Orden de Carlos III y la encomienda ordinaria de Isabel la Católica.Este autorretrato es dem

Sketch for Allegory of the Institution of the Order of Charles III
Oil on canvas. 1827 - 1828
López Portaña, Vicente
Sketch for Allegory of the Institution of the Order of Charles III
Oil on canvas. 1827 - 1828
López Portaña, Vicente

This preparatory sketch for the ceiling of Charles III’s former bedroom at the Royal Palace in Madrid depicts the Institution of the Order of Charles III following the birth of the King’s first male grandchild. A personification of Monarchy holds the newborn Infante in its arms, and the Virgin of the Immaculate Conception, patroness of the Order, is depicted at the centre of the composition.

The Queen of Etruria and her Children
Oil on canvas. 1815
Aparicio e Inglada, José
The Queen of Etruria and her Children
Oil on canvas. 1815
Aparicio e Inglada, José

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

Aeneas becomes a God
Oil on canvas. Ca. 1820
Blondel, Merry-Joseph
Aeneas becomes a God
Oil on canvas. Ca. 1820
Blondel, Merry-Joseph

According to the fourteenth book of Ovid’s Metamorphoses, after ordering the river Numicius to wash away all the mortal aspect of Aeneas, Venus anointed him with a divine perfume and touched his mouth with a mixture of ambrosia and nectar, thus transforming him into a god (Miguel Ángel Hernanz Santos, information provided to the Museum in March 2021)Blondel, who specialised in decorative sc

Bullfight
Oil on canvas. After 1825
Anonymous
Bullfight
Oil on canvas. After 1825
Anonymous

This canvas is inspired by Goya’s Tauromaquia of 1815 and his Bulls of Bordeaux lithographs of late 1825. The technique suggests a late date, around the end of the 1820s, and is close to Goya’s style. The canvas is one of a now dispersed series on bulls and bullfighting, of which there are two in the Ashmolean Museum, Oxford, and another in a private Madrid collection.

The Engraver Bernardo Rico
Oil on canvas. Ca. 1870
Madrazo y Garreta, Raimundo de
The Engraver Bernardo Rico
Oil on canvas. Ca. 1870
Madrazo y Garreta, Raimundo de

This painting and its dedication demonstrate the friendship between Raimundo de Madrazo and Bernardo Rico (1825-1894), a leading wood engraver and the brother of the painter Martín Rico. The controlled, precise brushstroke on the face contrasts with the looser and more fluid handling of the background.

Giuseppe Maria Ferdinando Dal Pozzo
Oil on canvas. 1810
Aparicio e Inglada, José
Giuseppe Maria Ferdinando Dal Pozzo
Oil on canvas. 1810
Aparicio e Inglada, José

This portrait is one of the artist’s finest works and reveals his proximity to international Neo-classicism. The Grand Cross of the Order of the Reunion worn by the sitter and the red robe that identifies him as president of the Court of Appeal indicate both the status of this judge and the reputation achieved by Aparicio in Napoleonic Rome.

The Death of Viriatus, Chief of the Lusitanians
Oil on canvas. 1807
Madrazo y Agudo, José de
The Death of Viriatus, Chief of the Lusitanians
Oil on canvas. 1807
Madrazo y Agudo, José de

This work was part of a series of canvases with scenes recalling how the people of the Iberian Peninsula resisted Roman domination. The idea for this series grew out of a patriotic impulse against the French invasion of Spain. Viriatus (second century B.C.), king of the Lusitani, lies dead, while his assassins, Audax, Ditalkon and Minurus triumphantly abandon the scene to the right of the composit

Sleeping monk
Salt paper on card, photographic paper. 1848 - 1852
Caneva, Giacomo
Sleeping monk
Salt paper on card, photographic paper. 1848 - 1852
Caneva, Giacomo

The Palazzo Colonna (ruins of an old Roman Serapeum, , Quirinal Hill), Rome
Salt paper on wove paper, photographic paper. Ca. 1850
Caneva, Giacomo
The Palazzo Colonna (ruins of an old Roman Serapeum, , Quirinal Hill), Rome
Salt paper on wove paper, photographic paper. Ca. 1850
Caneva, Giacomo

The west or Velázquez façade of the Museo del Prado
Albumen on card, photographic paper. 1860 - 1862
Clifford, Charles
The west or Velázquez façade of the Museo del Prado
Albumen on card, photographic paper. 1860 - 1862
Clifford, Charles

Designed by Juan de Villanueva, the building that houses the Museo del Prado has always been an indispensable landmark in Madrid’s urban landscape. Since the mid 1820s, numerous artists have taken an interest in depicting it in the wooded setting of the Paseo del Prado. Draftsmen such as Carlos de Vargas (act. 1824-32) and painters such as Fernando Barbila (1763-1834) created models that became wi

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