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Sketch for the fresco, The Surrender of Granada, at the old formal dining room in Madrid´s Royal Palace, from 1763. [+]
Sitting on a stone bench beside a landscape that disappears into the distance, the girl holds various roses on a handkerchief in her lap. Her hat lies on the ground. Lost in thought, she gazes out of [+]
This is a sketch for one of the frescoes on the gospel side of the Royal Chapel at the Royal Palace of Aranjuez. Painted in 1778-1779, those frescoes of Saint Luke Painting the Virgin present the sain [+]
Sketches for the pendentives of the dome of the collegiate church at La Granja (Segovia). With this decoration Bayeu continued the project begun by Giambattista Tiepolo, who died in 1770, imbuing the [+]
A sketch for a ceiling at Madrid´s Royal Palace, painted in 1794. Bayeu used grisaille technique: a monochrome depiction in shades of gray and chestnut brown. The Spanish Monarchy is represented by an [+]
This is a sketch for the vault above the high altar in the chapel of Aranjuez palace. God the Father is enthroned and embraces the Mystic Lamb, while angels spread the apocalyptic message inscribed on [+]
Standing on clouds at the center of the composition, Moses points toward the sunbeams shining down from the sky. Beneath him, Abraham and Isaac are accompanied by the sacrificial lamb. To the left of [+]
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, charac [+]
The prophet Isaiah is depicted on clouds, surrounded by angels and pointing to one of them, who holds a scroll with the following Latin text concerning the birth of the Messiah: “Behold, a virgin shal [+]
These are sketches for the frescoes adorning the main altar of the chapel in the Palace of Aranjuez. The brilliant, highly detailed technique reveals the lingering influence of the Italian, Corrado Gi [+]
A full-length portrait of Federico Flórez as a boy, wearing the uniform of the School of Noble Students of Madrid. This work is especially significant in Madrazo´s oeuvre, as it is one of the f [+]
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 [+]
Born in Antwerp in 1609, Omazur was a friend and admirer of Murillo’s. He established himself as a merchant in Seville where he wrote poetry and collected painting. The austerity of the image links it [+]
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Sketches for the pendentives of the dome of the collegiate church at La Granja (Segovia). With this decoration Bayeu continued the project begun by Giambattista Tiepolo, who died in 1770, imbuing the [+]
This portrait of the wife of the banker Henry O’Shea reveals the British influence on Madrazo’s fully romantic period. Her social position is indicated by the quality of the fabrics, laces and jewels, [+]
Cruzada Villaamil (1865) no registró la procedencia de esta obra. Pedro de Madrazo señaló en el catálogo del Museo del Prado de 1873 que procedía de la capilla ochavada del convento de San Francisco d [+]
Sketches for the pendentives of the dome of the collegiate church at La Granja (Segovia). With this decoration Bayeu continued the project begun by Giambattista Tiepolo, who died in 1770, imbuing the [+]
