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Paolo Domenico Finoglia was deeply involved in the creation of paintings for the History of Rome cycle at the Buen Retiro Palace. His participation includes this superb Triumph of Bacchus, a Gladiators’ Fight (Patrimonio Nacional, Inv. 10022324) and a painting with a very obscure subject traditionally known as Masinissa Mourning Over the Death of Sophonisba (P2280). This final work was even attrib
A portrait of the Duke of Osuna, Pedro Téllez Girón (1755-1807); his wife, the Countess-Duchess of Benavente, Josefa Alonso de Pimentel (1752-1834) and their four children: Francisco de Borja (1785-1820), the following Duke of Osuna; Pedro de Alcántara (1786-1851), the future Prince of Anglona; Maria Manuela (1783-1838) and Joaquina (1784-1851), the future Marchioness of Santa
A passage from the New Testament (Luke I, 26-38) that tells of the annunciation of the Virgin´s motherhood by the Archangel Gabriel and the incarnation of Christ in Mary by the Holy Ghost in the form of a dove. The burning bush, which appeared to A passage from the New Testament (Luke I, 26-38) that tells of the annunciation of the Virgin´s motherhood by the Archangel Gabriel and the incarnation o
Fortuny enjoyed painting flowers in bloom in his scenes. Attracted by their colours, he also made separate studies of them. His favourites were hollyhocks on account of their pleasing hues and the elegant verticality of their stalks, which is accentuated by the format used here. As the background is devoid of references, their corollas appear to float in an indeterminate space, with varying degree
Este lienzo es una de las obras fundamentales de la pintura del Romanticismo español, así como el primer cuadro importante de este género realizado por Federico de Madrazo a lo largo de su fecundísima carrera, que dedicaría después de forma prácticamente exclusiva a la pintura de retratos. Realizado en tamaño poussinesco es decir, a un tercio del natural, siguiendo la moda académica de esos años.
The pyramidal composition and the monumental character of the figure are similar to those of Saint Benedict (P-817), also in the Prado. An exceptional depiction of this saint from Lisbon holding a spray of white lilies in his right hand. In his left hand is a book with a small image of the Christ Child, a later addition that adapts this painting to the most common iconography of this Franciscan sa
Genaro Pérez Villaamil (El Ferrol, 1807-Madrid, 1854) can be considered the most significant and influential Spanish Romantic landscape painter and an artist who had an intense interest, characteristic of that period, in depictions of cities and their monuments.The small size of the tin plates on which theses scenes are painted allowed Villaamil to work from the motif, as he generally did w
This heroic full-length portrait presents the king under a red-and-gold curtain with a landscape in the background. He wears a crown and, under a blue tunic, armor. His right hand rests on the head of a lion whose paw rests, in turn, on the coat of arms of Castile and León, territories ruled by Henry IV. The arms are surrounded by pomegranate flowers with the slogan, AGRO DULCE, an insignia
Fortuny featured groups of hens in a number of his compositions, as their dynamism, texture and luxuriant colours enriched and enlivened his works. This painting, however, is a study in its own right -a free exercise designed to capture the birds’ light, fast movements rather than intended as a detail of a larger composition.
The Scottish artist David Roberts travelled around Spain between 1832 and 1833, en route to Africa. Fascinated by its Islamic and Christian monuments, his works present an exotic and literary vision of Spain. This canvas, executed after his return to London, depicts a colourful and idealised view of the Villaviciosa Chapel, beneath the pierced vault constructed under Al-Hakam II.
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.
The pyramidal composition and precise, polished forms of both the bodies and the drapery, all emphasised by the intense illumination, indicate the continuing and direct influence of Anton Rafael Mengs.The treatment of the subject also recalls the works of Goya’s Italian period, during which time he was able to study numerous paintings of this subject. The figures of the children are comparable to
This painting is of considerable interest as there are very few surviving works by this artist, who was a fine example of the last generation of great decorators from Madrid. The architectural setting is notable in its resemblance to Claudio Coello´s manner, as are the figures of the angels. The color scheme is warm but rather muted, with handsome yellows, ochers and grayish greens that are
This image of Saint Benedict of Nursia (c.480-547) was painted for the high altar in the Church of Santo Domingo el Antiguo, one of the oldest convents in Toledo founded by the Benedictine order in the seventh century. In the sixteenth century, a new church was built with funding from a wealthy patron, Doña María de Silva, who died in 1575. Diego de Castilla, the deacon of the Cathed
This is one of a series of eleven canvases on Christ´s Passion that Arias painted for the cloister at the convent of San Felipe el Real. Others include Jesus Washing Peter´s Feet (P5985), Christ Before Pontius Pilate, Christ Bearing the Cross encounters Veronica (P3528) and a Crucifixion.This series with scenes from the Passion was first mentioned by Palomino (1724): He made eleven paintings for t
Fortuny’s predilection for beautifully colored and very carefully painted panels is perfectly exemplified by the present work, which reveals his mastery of tableautin, a type of painting that garnered considerable commercial success for artists such as Jean-Louis-Ernest Meissonier (1815-1891), although the latter’s execution was much more meticulous and drawn. The Orientalist genre was also the ob
El quebrado perfil del castillo de Alcalá de Guadaíra, cercano a Sevilla, aparece visto a lo lejos en un bellísimo atardecer en el que la sugerente luz del ocaso se refleja sobre el río. La imagen es fruto de la visión evocadora y romántica del escocés David Roberts, destacado representante del paisajismo británico, que ejerció gran influencia en artistas españoles, especialmente en Genaro Pérez V
Fortuny’s sudden death left this painting unfinished, yet it remains one of his finest pieces, and the maximum expression of the audacious pictorial modernity that characterizes his mature work.The two children that appear in this canvas are the artist’s own son and daughter, Mariano and María Luisa. They rest on the long divan in the Japanese Room at Villa Arata, the Fortuny family’s summe
