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Palm Grove (Elche)
Oil on paper attached to cardboard. Ca. 1861
Haes, Carlos de
Palm Grove (Elche)
Oil on paper attached to cardboard. Ca. 1861
Haes, Carlos de

En una composición horizontal, favorecida por el propio formato del soporte, se plasma una llanura con un desnivel en el centro del terreno en el que junto a un bosque de palmeras se alza un aljibe para el riego de los cercanos frutales que se insinúan a la derecha. Entre este palmeral sobresalen cinco ejemplares que con sus altos tronco enlazan y funden las dos franjas horizontales en que está cl

Saint Sebastian speaking to Marcus and Marcellian and Saint Sebastian and Saint Polycarp destroying Idols
Oil on panel. Ca. 1470
García de Benabarre, Pedro
Saint Sebastian speaking to Marcus and Marcellian and Saint Sebastian and Saint Polycarp destroying Idols
Oil on panel. Ca. 1470
García de Benabarre, Pedro

In the upper section, within an urban setting with a cobbler`s workshop in the background, Saint Sebastian is seen exhorting the brothers Marcus and Marcellian to ignore their family`s pleas and not renounce their Christian faith, for which they have been imprisoned. In the lower section, Sebastian and Polycarp destroy pagan idols in order to cure the Roman prefect Cromatius of his illness. Influe

Palm Threes at Elche
Oil on cardboard. Ca. 1861
Haes, Carlos de
Palm Threes at Elche
Oil on cardboard. Ca. 1861
Haes, Carlos de

Sobre una explanada, arbustos cobijados por un pequeño promontorio. A la derecha, una construcción, semejante a un aljibe, y detrás, gran extensión de árboles frutales entre los que sobresalen los altos troncos de las palmeras, a la izquierda diseminadas y a la derecha en un bosque más compacto. Fondo montañoso difuminado cuyas cimas se coronan por brumas y nubes bajas en un cielo que torna limpio

The Two Caudillos
Oil on canvas. 1866
Casado del Alisal, José
The Two Caudillos
Oil on canvas. 1866
Casado del Alisal, José

This painting was presented at the National Exhibition of Fine Arts in 1866. It depicts the Great Captain´s encounter with the body of his adversary after the famous battle for the control of the Kingdom of Naples, which was fought during the reign of the Catholic Kings. The page, who still holds the body of his dead lord, directs an imploring gaze at the Spanish hero. The painter clearly captures

Margaret before the Mirror
Oil on canvas. 1866
Domínguez Sánchez, Manuel
Margaret before the Mirror
Oil on canvas. 1866
Domínguez Sánchez, Manuel

This painting illustrates a scene from Goethe´s Faust. Specifically, the moment when Margaret finds a jewelry box in her bedroom closet. Mephistopheles gave it to Faust as a tempting gift for his beloved. The young woman enjoys hanging a string of pearls around her neck and observing the beautiful results in the mirror. A spinning wheel is visible in the dark background. This work shows the influe

Self-Portrait
Oil on canvas. 1815
Goya y Lucientes, Francisco de
Self-Portrait
Oil on canvas. 1815
Goya y Lucientes, Francisco de

Goya deliberately presents himself here as vulnerable and fragile, revealing the most serene and welcoming facet of his personality. A dark background painted with rapid, energetic crossing brushstrokes adds presence to his reddish-brown frock coat, which contrasts with his very white, open-necked shirt, both of which are painted with finer brushstrokes than the background. This technique, in the

Fake Architectural Mouldings and Ornaments, with Allegorical Figures and Flowers
Tempera, Mural painting on wall covering. 1835
Martínez Salamanca y Costa, Francisco
Fake Architectural Mouldings and Ornaments, with Allegorical Figures and Flowers
Tempera, Mural painting on wall covering. 1835
Martínez Salamanca y Costa, Francisco

From the time of the Museum’s founding this small room was part of the private area known as Their Majesties’ Rest Room (now Room 39). Similar to those existing in other Bourbon palaces, it housed the King’s lavatory. Despite its late date, 1834, the walls and ceiling of this room were decorated in the Neoclassical style by Francisco Martínez.

A Contagious Disease Hospital (Majorca)
Oil on panel. Ca. 1877
Haes, Carlos de
A Contagious Disease Hospital (Majorca)
Oil on panel. Ca. 1877
Haes, Carlos de

Sobre el agua, a la derecha reposan y se reflejan en la superficie varias barcazas de pesca con su velamen plegado. Más a la izquierda, la mole del lazareto cuya estructura arquitectónica, iluminada por un sol de mediodía, se refleja también en las mansas aguas del mar. Delante, un bote pequeño con un pescador. A la izquierda asoman los mástiles de otra embarcación.Estos lazaretos, construidos fue

Self-portrait
Oil on canvas. 1620 - 1630
Orrente, Pedro de
Self-portrait
Oil on canvas. 1620 - 1630
Orrente, Pedro de

Orrente había nacido en Murcia (como aclara la inscripción de la parte superior) y desarrolló la mayor parte de su carrera en el Levante español, además de Toledo, donde permaneció entre 1626 y 1631. También conoció Italia, donde estuvo entre 1604 y 1612 y estudió principalmente las obras de los Bassano, cuyo estilo y técnica influirían poderosamente en su obra. A juzgar por su indumentaria, el cu

Leocadia Zorrilla (?)
Oil on canvas. 1814 - 1816
Goya y Lucientes, Francisco de
Leocadia Zorrilla (?)
Oil on canvas. 1814 - 1816
Goya y Lucientes, Francisco de

Ever since this painting entered the museum, the sitter has traditionally been identified as Josefa Bayeu, Goya´s wife. However, the date of the painting doesn´t coincide with the age of the supposed model, as Josefa Bayeu died in 1812 at the age of sixty-five. Thus she would have been fifty years old by 1798, which is the date most historians attribute to this work. The present portrait, however,

Ella J. Seligmann
Oil on canvas. 1913
Sorolla y Bastida, Joaquín
Ella J. Seligmann
Oil on canvas. 1913
Sorolla y Bastida, Joaquín

During his trip to Paris in the autumn of 1913 Sorolla painted the wife of Jacques Seligmann, a leading art dealer of German origin, emphasising her beauty and elegance through the use of a restrained background painted with very loose brushstrokes. Impasto is reserved for the brightest areas such as the flesh tones and the sumptuous white shawl.

Skating Masquerade, or Carnival on Ice at the Kipdorppoort Moats in Antwerp
Oil on panel. Ca. 1620
Alsloot, Denis Van
Skating Masquerade, or Carnival on Ice at the Kipdorppoort Moats in Antwerp
Oil on panel. Ca. 1620
Alsloot, Denis Van

The inhabitants of Antwerp enjoy skating on the frozen water in the moats alongside the city walls. Divided into groups, some disguised and others elegantly dressed, the represent diverse attitudes and stereotypes from the celebration of Carnival. Images of feasts and celebrations in the Low Countries are common in the work of Denis van Alsloot. In his customary manner, he creates a very detailed

Ophelia
Oil on canvas. Ca. 1871
Rosales Gallinas, Eduardo
Ophelia
Oil on canvas. Ca. 1871
Rosales Gallinas, Eduardo

This painting depicts the discovery of the dead body of Hamlet´s beloved Ophelia, floating in the river after she fell from a weeping willow, which she had climbed in order to hang a garland of flowers. The painting, which has sketchy brushstrokes, reveals the impact that William Shakespeare´s work had on Rosales. Working with extremely thin paint that allows the canvas´s priming to act as an expr

María Figueroa, dressed as a menina
Oil on canvas. 1901
Sorolla y Bastida, Joaquín
María Figueroa, dressed as a menina
Oil on canvas. 1901
Sorolla y Bastida, Joaquín

Sorolla was the most gifted Spanish painter of his generation, excelling in portraiture. In the early years of the twentieth century, and especially after the encouragement of winning the Grand Prize in the 1900 Exposition Universelle Paris, he demonstrated the influence of Velázquez through the use of long, confident brushstrokes. This portrait of María de Figueroa y Bermejillo -the

The Painter Francisco Bayeu
Oil on canvas. 1795
Goya y Lucientes, Francisco de
The Painter Francisco Bayeu
Oil on canvas. 1795
Goya y Lucientes, Francisco de

Court Painter, Director of the Academia de San Fernando in Madrid and a key artistic figure in the period, Bayeu was Goya’s brother-inlaw and their relations were at times extremely tense. This portrait, which was commissioned by Bayeu’s daughter for display at the Academy after the artist’s death in August 1795, is based on a selfportrait, now in a private collection.Goya emphasises Bayeu’s dry a

The Painter Matías Moreno
Oil on canvas. 1867
Carolus Duran. Charles-Emile-Auguste Durand
The Painter Matías Moreno
Oil on canvas. 1867
Carolus Duran. Charles-Emile-Auguste Durand

This work and its dedication reflect the friendship between the French artist Carolus-Duran and Matías Moreno (1840-1906), which arose during their time as copyists in the Museo del Prado and continued when both artists spent time in Toledo. Carolus-Duran’s appreciation and study of Velázquez influenced the subsequent development of his work, which enjoyed enormous international succ

The Coronation of the Quintana
Oil on canvas. 1859
López Piquer, Luis
The Coronation of the Quintana
Oil on canvas. 1859
López Piquer, Luis

This work shows politician, poet, playwright and tutor to Queen Elizabeth II, Manuel José Quntana (Madrid, April 11, 1772- Madrid, March 11, 1857) on the day of his coronation in the Senate as Illustrious Poet (March 25, 1855).

Dead Turkey
Oil on canvas. 1808 - 1812
Goya y Lucientes, Francisco de
Dead Turkey
Oil on canvas. 1808 - 1812
Goya y Lucientes, Francisco de

This canvas is one of a series of twelve still lifes that were listed among the artist’s possessions in 1812. Since his early years Goya included still-life elements in his canvases but there is no reference to earlier, independent works by the artist in this genre. The dead birds and animals in this series are not depicted in the traditional manner as hunting trophies. Rather, the artist focused

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