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View of the Castle in Gaucín
Oil on canvas. 1849
Pérez Villaamil y Duguet, Genaro
View of the Castle in Gaucín
Oil on canvas. 1849
Pérez Villaamil y Duguet, Genaro

This view of the so-called Eagle’s Castle in Gaucín (Malaga), with the valley of the Genal River and the Plain of Gibraltar in the background, is similar to an earlier view by Villaamil’s master, the Scottish artist David Roberts (1796-1864). The touches of evening light emphasise this monumental vision of the mountains of Ronda, interpreted with a picturesque and evocative grandeur charact

Spain pays Homage to Religion and Faith
Oil on canvas. 1759
Giaquinto, Corrado
Spain pays Homage to Religion and Faith
Oil on canvas. 1759
Giaquinto, Corrado

In what is now the stairway at Madrid’s Royal Palace, Corrado Giaquinto developed a program depicting the Spanish Monarchy, its virtues and its historical mission to serve and defend Religion. Allegorical representations of Religion and the Catholic Church appear at the centre of Spain pays homage to Religion and to the Church, 1759. Religion is depicted as a woman carrying a cross in her left han

The Painter Andrea Sacchi
Oil on canvas. Ca. 1661
Maratta, Carlo
The Painter Andrea Sacchi
Oil on canvas. Ca. 1661
Maratta, Carlo

Maratti was a pupil of Sacchi (ca. 1599-1661). He may have painted this portrait as a pair to that of Francesco Albani by Sacchi (also on display in this room), which he acquired in 1661. It passed from Maratti’s collection to that of Philip V in 1722 and was in the palace of La Granja one year later. It entered the Prado in 1849.

Lady with a Fan
Oil on panel. 1570 - 1573
Sánchez Coello, Alonso
Lady with a Fan
Oil on panel. 1570 - 1573
Sánchez Coello, Alonso

In this half-length portrait, the lady is wearing a dark brown velvet overdress luxuriously ornamented with gold chain-stitched embroidery, slit sleeves, and a high collar open in front in the Flemish style. This is a notable example of Spanish portraiture during the reign of Philip II. To begin with, it is painted on a finegrained reddish tropical wood, mahogany perhaps, a support that was quite

Female Nude
Oil on panel. 1894
Pinazo Camarlench, Ignacio
Female Nude
Oil on panel. 1894
Pinazo Camarlench, Ignacio

This portrait of a nude young woman sitting in an armchair with her clothing falling to her feet and a certain gesture of modesty betrays the artist´s satisfaction with the subject of nudes and the sensuality of the female body. The coloring tends towards reds and yellows and is one of the singular elements of this nude, which is one of several painted by Pinazo. Here, the amount of paint seems to

Faun (Nude study of a child)
Oil on panel. 1888
Pinazo Camarlench, Ignacio
Faun (Nude study of a child)
Oil on panel. 1888
Pinazo Camarlench, Ignacio

A young man lies face down on the earth, crowned with grape leaves in the fashion of the god, Bacchus. This mythological touch, which Pinazo developed in part of his oeuvre, shows the influence of his time in Italy. This nude also clearly shows how important light was in many of this artist´s works. here it can be seen in the reverberant effect of the white cloth that cover´s the model´s legs. Thi

Sofía Vela y Querol
Oil on canvas. 1850
Madrazo y Kuntz, Federico de
Sofía Vela y Querol
Oil on canvas. 1850
Madrazo y Kuntz, Federico de

Although Federico de Madrazo began working in the genre of historical painting, his gifts as an artist promptly led him to portraiture, which he cultivated in all its forms throughout his lengthy career and in which he conspicuously excelled. This portrait of Sofía Vela is one of the best from the artist´s romantic period and is a superb example of the intimate portrait. It was exhibited at

Portrait of a Lady with her Son
Oil on canvas. 1849
Ribera y Fieve, Carlos Luis de
Portrait of a Lady with her Son
Oil on canvas. 1849
Ribera y Fieve, Carlos Luis de

This portrait reveals the artist`s assimilation of French models, particularly those of his master, Paul Delaroche (1797-1856), who frequently used an oval format and low viewpoint in order to emphasise the monumentality of the figures. The dark tones of the mother`s dress create a harmonious contrast with the child`s skin tones and the highlights on the meticulously painted curtains and upholster

The Mancorbo Pass in Picos de Europa
Oil on canvas. 1876
Haes, Carlos de
The Mancorbo Pass in Picos de Europa
Oil on canvas. 1876
Haes, Carlos de

Universally considered the most emblematic painting of Spanish 19th-century realist landscape, this spectacular panorama of Picos de Europa is also Carlos de Haes absolute masterpiece. He painted it at the height of his career, with the confidence and ease of his most refined style. It is thus the maximum example of the powerful transformation that this great master of Belgian origin effected in l

José Gutiérrez de los Ríos
Oil on canvas. 1849
López Portaña, Vicente
José Gutiérrez de los Ríos
Oil on canvas. 1849
López Portaña, Vicente

Está retratado hasta las rodillas a sus sesenta y nueve años, sentado en un sillón. Viste traje y corbata negros, chaleco marfil y un bello broche en la pechera de la camisa. En la solapa luce la venera de caballero de Montesa y de la botonadura del chaleco pende la leontina de su reloj. Apoya el brazo derecho en un libro sobre varias cartas, en una de las cuales se lee la dedicatoria, sobre un ve

Ventura de la Vega
Oil on canvas. 1849
Madrazo y Kuntz, Federico de
Ventura de la Vega
Oil on canvas. 1849
Madrazo y Kuntz, Federico de

The writer Ventura de la Vega (1807-1865), a leading light in Madrid’s literary and artistic circles, was a close friend of the painter. In this portrait, whilst conveying the sitter’s unstudied elegance, Madrazo particularly sought to capture his character and his intensely expressive gaze.

Alfonso XI of Castile
Oil on canvas. 1849
Cerdá de Villarestan, Francisco
Alfonso XI of Castile
Oil on canvas. 1849
Cerdá de Villarestan, Francisco

The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the

The Miniaturist Teresa Nicolau Parody
Oil on canvas. Ca. 1844
López Portaña, Vicente
The Miniaturist Teresa Nicolau Parody
Oil on canvas. Ca. 1844
López Portaña, Vicente

As Goya had done with Rosario Weiss, Vicente López undertook to train another of the foremost artists of Spanish Romanticism, the miniaturist Teresa Nicolau. These portraits evince their great respect and appreciation for each other. The court painter depicted his pupil in a three-quarter bust with a white lace mantilla, and although by then she had already been made a member of the Academy

The Villa Martinelli and the Palace of the Duke of Aquale in Posillipo (Naples)
Oil on canvas. 1700 - 1733
Vanvitelli, Gaspare
The Villa Martinelli and the Palace of the Duke of Aquale in Posillipo (Naples)
Oil on canvas. 1700 - 1733
Vanvitelli, Gaspare

Gaspare Vanvitelli is unanimously considered the founder of the eighteenth-century urban veduta, which was based on close observation of views and drawing from life, including scenes of everyday events and contemporary society. Born in Holland, where he was known as Gaspar van Wittel, Vanvitelli was a disciple of still-life and landscape painter Matthias Withoos in Utrecht, one of the Dutch cities

Tulga
Oil on canvas. Ca. 1854
Sáez y Glanadell, Agustín
Tulga
Oil on canvas. Ca. 1854
Sáez y Glanadell, Agustín

Tulga was a king of the Visigoths from 640 to 642. The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right

Dignitaries embarking for a Party
Oil on canvas. 1688
Minderhout, Hendrik Van
Dignitaries embarking for a Party
Oil on canvas. 1688
Minderhout, Hendrik Van

These two river port views (P2104 and P2105), replete with anecdotal scenes, are characteristic of the work of Hendrick van Minderhout. Since they were acquired by the Museo del Prado, they have been exhibited as a pair. Díaz Padrón (1975) identifies the Dignitaries landing at a River Port as a view of Venice. However, although the column would indeed seem to be inspired by the Piazz

Recesvinto
Oil on canvas. Ca. 1854
Gisbert Pérez, Antonio
Recesvinto
Oil on canvas. Ca. 1854
Gisbert Pérez, Antonio

The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the

Peter of Castile
Oil on canvas. 1849
Hernández Amores, Germán
Peter of Castile
Oil on canvas. 1849
Hernández Amores, Germán

Peter I of Castile, called the Cruel or the Just,[was the king of Castile and León from 1350 to 1369. The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isab

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