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The eldest son of King Juan II of Aragon and Queen Blanca of Navarre, Carlos de Viana was heir to both thrones, yet his father disowned him in favor of his other son, Fernando “The Catholic.” Because of his growing popularity in Catalonia, Fernando forced him to abandon public life, and that is the moment Moreno Carbonero immortalizes in this work. A resigned Carlos dedicates himself to reading an
Al poco de su muerte se recordaba que Alenza recorría como Goya los barrios bajos de la Corte, las tabernas, los ventorrillos de las afueras, las casillas del río, observando las fisonomías, trajes, maneras y usos populares para trasladarlos a sus cuadros. A esos suburbios madrileños ha de corresponder la ambientación de este lienzo que se halla entre lo mejor de su producción. Pintado en 1844, en
Pareja de la obra El sacamuelas (P7945) y pintado en el mismo año de 1844, presenta una clara relación con la obra homónima de Velázquez, que Alenza conoció en el Museo del Prado. En este lienzo, de todos modos, se resaltan mucho más los extremos de la embriaguez y el carácter burlesco de los personajes. La pintura revela un sentido abiertamente popular y jocoso. En el interior abovedado de una ta
This scene belongs to the type of Italianate landscape which Asselijn cultivated in Holland based on drawings and sketches made from the life during his stay in Rome. Blankert (1965) dates the work to 1648. However, Steland-Stief (1971) believes it to have been painted around 1647, the first year Asselijn is documented in Amsterdam after returning from Italy, on account of the stylistic similarity
This portrait presents the lady at full length, dressed in the fashion of the time in a tulle gown with lace details. Goya perfectly captures the translucence of the fabric, through which we see the shimmer of the pink skirt the sitter wears underneath. At her waist the lady wears a wide black tulle band, which is also semi-transparent, and on the waistband she has pinned a lovely cameo brooch. He
Miguel Parra was one of the most important artists in Valencia during the first half of the nineteenth century. he held leading posts in artistic institutions in that city and añsp in the court, to which he was brought by his brother-in-law, Vicente López. He specialized in large flower paintings with great decorative density derived from local and foreign models from the second half
Miguel Parra was one of the most important artists in Valencia during the first half of the nineteenth century. he held leading posts in artistic institutions in that city and añsp in the court, to which he was brought by his brother-in-law, Vicente López. He specialized in large flower paintings with great decorative density derived from local and foreign models from the second half
Holding his spectacles in his right hand, the subject of this portrait gazes at the viewer. He has momentarily left the composition he is working on, which is dated 1844 and is partially legible. It is precisely this element that enabled the subject to be identified as Urbano Aspa (C. Díaz Pascual 2015), a composer of religious music who was also a close friend of the painter’s family. In t
Leonardo Alenza y Nieto was, without doubt, the painter par excellence of romantic costumbrismo from Madrid. (Costumbrismo refers to nineteenth-century genre scenes representing folkloric subjects and local customs.) Alenza is traditionally considered a follower of Goya for the application of his sharp, honest skills of observation to the least favoured social classes in the Spain of his era, at t
Louise Amour Marie de Bouillé, the wife of the French ambassador in Madrid, is registered as a copyist at the Museo del Prado from November 1871 onwards. It must have been around then that she was portrayed by Federico de Madrazo in this delicate work, half-way between a life sketch and a small portrait, where the aristocrat is shown painting. Of Caribbean Creole descent, Louise was a multi
Susan Baverstock (Haddenham Buckinghamshire, Inglaterra, 1844), fue hija de William Baverstock y de Matilda Putnam. Casó en Manchester, en 1868, con Thomas Harvey y tuvo tres hijos: Matilda, Mary Ann y por último Nelly, artista, que es autora de este retrato de su madre. En segundas nupcias casó con Henry Counsell (Texto extractado de: Pintura del Siglo XIX en el Museo del Prado: Catálogo General,
Retrato del pintor Edmond Wodick (Haldensleben, Alemania, 1816 – Magdeburgo, Alemania, 1886), hijo de un pintor alemán experto en decoraciones, después de un aprendizaje en Magdeburgo como litógrafo concurrió entre 1836-1839 a la Escuela de Pintura de Düsseldorf. Años después emprendió diversos viajes por las principales ciudades europeas y el norte de África para continuar su formación. A su paso
Retrato de Pietro Tenerani, escultor que comenzó su formación en la Academia de Bellas Artes de Turín hasta que consiguió marchar a Roma en 1813. Se convirtió en la mano derecha del escultor Bertel Thorvaldsen (1770-1844) y vivió de primera mano la enconada rivalidad entre su maestro y Antonio Canova (1757-1822). La carrera del turinés fue afianzándose gracias a sus creaciones y a su labor como pr
Retrato de Ponciano Ponzano, notable escultor unido desde muy temprano a la Academia de Bellas Artes de Zaragoza y discípulo del escultor José Álvarez Cubero (1768-1827), con quien se formó en sus inicios en Madrid. Su talento le valió una pensión del gobierno para marchar a Roma en 1832, donde empezó a cosechar sus primeros éxitos, estudiando a los maestros de la escultura como Bertel Thorvaldsen
Retrato del pintor Louis Robbe (Courtrai, Bélgica, 1808 – Bruselas, 1887), quien aprovechando un viaje a España y amparado por el pintor Genaro Pérez Villaamil (1807-1854), presentó en 1844 un cuadro a la Exposición de la Academia de San Fernando, que le valió la concesión del título de académico de mérito por la pintura de género de animales. Recibió numerosas recompensas en diversas exposiciones
Eurydice, wife of the musician and poet Orpheus, was bitten by a viper and died of the wound. Her expression here, however, conveys no pain; she seems to be playing with the snake rather than receiving a fatal bite. In view of its classical style and perfect construction, this is widely considered Medina´s finest work. It was made in plaster in 1836, when Medina was training in Rome, and he
This work´s conception -Saint Jerome listening to the trumpets of the Last Judgement- stems from Piquer´s trip to Paris in 1840. That is where he made the plaster original in 1842. Once cast in bronze, this group was widely admired for its ties to Spanish tradition, including certain Baroque elements that added to its expressive power. Considered his best-known work, and a referent for Romantic sc
