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Maria Josepha of Saxony
Oil on canvas. Ca. 1828
López Portaña, Vicente
Maria Josepha of Saxony
Oil on canvas. Ca. 1828
López Portaña, Vicente

Retrato de María Josefa Amalia de Sajonia Borbón-Parma (Dresde, Alemania, 1803-Aranjuez, Madrid, 1829), reina consorte de España y tercera esposa (1819) del rey Fernando VII. Peinada con el cabello recogido con peineta de carey y bucles a ambos lados de la frente, luce la banda y cruz de la orden de María Luisa. La factura del retrato y la madurez del semblante de la reina, notablemente más adulto

Magdalena Parrella y Urbieta and her Daughter, Elisa Tapia y Parrella
Oil on canvas. 1850
Ribera y Fieve, Carlos Luis de
Magdalena Parrella y Urbieta and her Daughter, Elisa Tapia y Parrella
Oil on canvas. 1850
Ribera y Fieve, Carlos Luis de

Double portraits of this type, which were common in the mid-nineteenth century, were generally painted when the son or daughter was presented in society. The mother, depicted as seated, represented an example to the daughter, normally shown standing. In this case the richly furnished room and the sitter`s clothes and jewels indicate the wealthy status of this well-known family of bankers.

Self-portrait
Oil on canvas. 1810 - 1813
González Velázquez, Zacarías
Self-portrait
Oil on canvas. 1810 - 1813
González Velázquez, Zacarías

A member of a dynasty of artists that began with his grandfather, the sculptor Pablo González Velázquez (1664-1727), Zacarías González Velázquez initially trained with his father, the painter Antonio González Velázquez (1723-94). In 1777, he joined the Royal Academy of Fine Arts of San Fernando, an institution to which he remained tied for the rest

Diptych with 42 Monumental Views of Spanish Cities
Oil on paper, panel, tin plate. 1835 - 1839
Pérez Villaamil y Duguet, Genaro
Diptych with 42 Monumental Views of Spanish Cities
Oil on paper, panel, tin plate. 1835 - 1839
Pérez Villaamil y Duguet, Genaro

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

Joseph’s Dream
Oil on canvas. 1805
López Portaña, Vicente
Joseph’s Dream
Oil on canvas. 1805
López Portaña, Vicente

The sleeping Joseph, his elbow propped on the table and the Infant Christ on his lap, receives the angel’s warning to flee and thus avoid the massacre of children ordered by King Herod (Matthew 2, 13). This is one of López’s most important religious compositions from his early career as a mature artist in Valencia.

Suerte de Varas (Lancing the Bull)
Oil on canvas. Ca. 1855
Lucas Velázquez, Eugenio
Suerte de Varas (Lancing the Bull)
Oil on canvas. Ca. 1855
Lucas Velázquez, Eugenio

Among the multiple sources of inspiration that Eugenio Lucas found in Goya’ works, bullfighting played a very substantial role in his painting career. As a bullfighting connoisseur and friend of bullfighters, he reflected his knowledge of that activity in a plethora of paintings of the widest variety, ambition and interest, always with the energetic and passionate approach that characterized his p

The Guadarrama from the Plantío de los Infantes
Oil on canvas. 1910
Beruete, Aureliano de
The Guadarrama from the Plantío de los Infantes
Oil on canvas. 1910
Beruete, Aureliano de

Madrid´s massive mountain range, the Sierra Madrileña, is depicted by Beruete from the outskirts of Madrid. This natural element was the painter´s favorite for his mountain landscapes. The work shows how this natural space was reclaimed as an axis for the regenerationalist politics that filled public life at the turn of the ninteenth to twentieth centuries. Understood as “the backbone of Sp

María Pilar de la Cerda y Marín de Resende, Duchess of Nájera
Oil on canvas. Ca. 1795
López Portaña, Vicente
María Pilar de la Cerda y Marín de Resende, Duchess of Nájera
Oil on canvas. Ca. 1795
López Portaña, Vicente

La joven dama, que aparenta alrededor de veinte años, está sentada junto a un velador, en el que se ven varios medallones y un libro, y sobre el que descansa el codo izquierdo. Luce un magnífico traje de raso gris y rosa, con manteleta y bocamangas de encaje. La blancura de su piel y la finura de su talle le infunden una fragilidad delicada y elegante. De rostro afilado y sereno, en el que resalta

Sabina Seupham Spalding
Oil on canvas. 1846
Madrazo y Kuntz, Federico de
Sabina Seupham Spalding
Oil on canvas. 1846
Madrazo y Kuntz, Federico de

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, and by the elegant arrangement of the hands. The books allude to the culture of this lady, who was a friend to the writer Washington Irving.

The Actress María Guerrero as La dama boba
Oil on canvas. 1906
Sorolla y Bastida, Joaquín
The Actress María Guerrero as La dama boba
Oil on canvas. 1906
Sorolla y Bastida, Joaquín

This portrait of María Guerrero, Sorolla’s neighbour and friend, is probably the finest and most expressive example of the eminent actress’s lifelong obsession with her own image. From childhood, she had herself portrayed by some of the most famous painters of her time, many of whom were friends of her father, the set designer Ramón Guerrero. María Guerrero grew up in a cultur

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

Sketch for Allegory of the Institution of the Order of Charles III
Oil on canvas. 1827 - 1828
López Portaña, Vicente
Sketch for Allegory of the Institution of the Order of Charles III
Oil on canvas. 1827 - 1828
López Portaña, Vicente

This preparatory sketch for the ceiling of Charles III’s former bedroom at the Royal Palace in Madrid depicts the Institution of the Order of Charles III following the birth of the King’s first male grandchild. A personification of Monarchy holds the newborn Infante in its arms, and the Virgin of the Immaculate Conception, patroness of the Order, is depicted at the centre of the composition.

Saint in Prayer
Oil on canvas. 1888 - 1889
Sorolla y Bastida, Joaquín
Saint in Prayer
Oil on canvas. 1888 - 1889
Sorolla y Bastida, Joaquín

For Sorolla and his wife, the time spent in Italy formed part of the years at the beginning of their relationship when they confronted their first difficulties together. As late as 1915, nearly thirty years after this trip, Sorolla noted in a letter to his wife that he had ‘ordered a little frame for the Virgin you gave me when I left Spain to study in Rome. I think it looks good on it and will ma

Exterior of Burgos Cathedral
Oil on canvas. 1859
Parcerisa y Boada, Francisco Javier
Exterior of Burgos Cathedral
Oil on canvas. 1859
Parcerisa y Boada, Francisco Javier

Medieval architecture gained new appreciation in the Romantic era. At the outset of his career, Parcerisa produced a popular collection of lithographs of medieval buildings entitled Recollections and Sights of Spain, grouped by province. In the 1850s he also began a series of canvases entitled Spain´s Ancient Monuments, among them this view of the main façade of Spain’s most admired Gothic

The Liberation of Saint Peter
Oil on paper attached to cardboard. 1791 - 1792
López Portaña, Vicente
The Liberation of Saint Peter
Oil on paper attached to cardboard. 1791 - 1792
López Portaña, Vicente

Represent the order received by St Joseph to save the Christ child from the slaughter of the Innocent, and the release of the Liberation of Saint Peter, was imprisoned by Herod. The academic nudes reveals the training of the young painter, whose loose, impasted technique recalls that of his master Maella, though he employs a cooler palette. The forced perspective indicates that the finished pictur

Battle of the Lapiths and the Centaurs
Oil on canvas. 1835
Tegeo Díaz, Rafael
Battle of the Lapiths and the Centaurs
Oil on canvas. 1835
Tegeo Díaz, Rafael

According to Ovid, the marriage of Hippodamia to Pirithous sparked a mythical battle between their kinsmen, the lapiths and the centaurs. This theme appealed to artists as symbolising the battle between the passions and the intellect. Tegeo echoed the classicism of the Bolognese School in this painting, regarded as his finest neoclassical composition. It belonged to the Prince of Anglona, the seco

River Port by a Castle
Oil on copperplate. 1850
Lucas Velázquez, Eugenio
River Port by a Castle
Oil on copperplate. 1850
Lucas Velázquez, Eugenio

Lucas Velázquez drew his inspiration from different sources over the course of his career. Like Alenza, he drew on Siglo de Oro and Dutch painting for some of his landscapes, whose fantastic character allows us to relate them to works by Pérez Villaamil, although Velázquez’s execution is more frank and direct, with a clear tendency toward expressive sketchiness.His fertile ima

Gesalec
Oil on canvas. Ca. 1855
Patiño, Patricio
Gesalec
Oil on canvas. Ca. 1855
Patiño, Patricio

Gesalic was a king of the Visigoths from 507 to 511. 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 rig

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