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Josefa Coello de Portugal
Oil on canvas. 1855
Madrazo y Kuntz, Federico de
Josefa Coello de Portugal
Oil on canvas. 1855
Madrazo y Kuntz, Federico de

In the mid-nineteenth century Federico de Madrazo produced some of the most successful portraits of the Spanish bourgeoisie during the reign of Isabel II (1833-68), presenting them with the opulence that their social status demanded. In addition to his remarkable artistic ability, his female portraits are outstanding for their depiction of the accessories and adornments. These details are emphasis

The Painter Carlos Luis de Ribera
Oil on canvas. 1839
Madrazo y Kuntz, Federico de
The Painter Carlos Luis de Ribera
Oil on canvas. 1839
Madrazo y Kuntz, Federico de

Carlos Luis de Ribera y Fievé, eldest son of the neoclassical painter, Juan Antonio de Ribera, was also a painter and a friend of Federico de Madrazo, who made this portrait while both lived in Paris. It is the result of an agreement that each would paint the image of the other, and then send the works to the annual painting exhibition at the Academy of Fine Arts of San Fernando in Madrid.

Gonzalo Fernández de Córdoba at the Battle of Cerignola
Oil on canvas. 1835
Madrazo y Kuntz, Federico de
Gonzalo Fernández de Córdoba at the Battle of Cerignola
Oil on canvas. 1835
Madrazo y Kuntz, Federico de

This canvas is one of the fundamental works of Spanish Romantic painting. It is also considered the first important painting of this genre throughout the prolific career of Federico de Madrazo, who would later dedicate himself almost exclusively to portraits. It is Poussinesque in size (one-third of life-size), following the academic trend at that time. The canvas depicts an episode of the Second

The Painter and Engraver Calixto Ortega
Pencil on dark yellow paper. 1839
Madrazo y Kuntz, Federico de
The Painter and Engraver Calixto Ortega
Pencil on dark yellow paper. 1839
Madrazo y Kuntz, Federico de

Retrato del pintor y grabador Calixto Ortega, discípulo de la Academia de San Fernando. En su estudio comenzó su formación un joven Martín Rico (1833-1908) de quien era su tío. En 1839 se trasladó a París para perfeccionarse en el arte del grabado en madera, realizando algunos trabajos que remitió a la Exposición de la Academia de 1839 y al periódico Semanario pintoresco español. A su vuelta a Esp

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