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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
From an early age, Domingo displayed considerable skill as a portraitist. In this self-portrait, he is seated in profile, standing out against a dark background. In contrast to the intimate, introspective nature of most self-portraits, here the artist clearly had a larger public in mind; this is evident in the format and the clothing, and also in the emphasis on the tools of the painter’s professi
Este lienzo es una de las obras fundamentales de la pintura del Romanticismo español, así como el primer cuadro importante de este género realizado por Federico de Madrazo a lo largo de su fecundísima carrera, que dedicaría después de forma prácticamente exclusiva a la pintura de retratos. Realizado en tamaño poussinesco es decir, a un tercio del natural, siguiendo la moda académica de esos años.
Concepción Remisa de Moret was the wife of Segismundo Moret y Quintana, a famous nineteenth-century Spanish writer, politician and landowner whose portrait -also by Madrazo- is in the Prado Museum collection as well (P04466). The purity of lines and delicate rendering of this work reveal the influence that the French painter, Jean Auguste Dominique Ingres (1780-1867), had on Federico de Mad
Martín Rico was one of the leading Spanish landscape painters of the second half of the nineteenth-century. He was particularly interested in depicting tranquil stretches of water, and during his long stay in France he often painted the countryside around the rivers Seine and Marne near Paris. Here, using a very limited range of colours, he arranges the composition in parallel horizontal st
According to the inscription on the right, this is a portrait of the painter and friend of Madrazo, Eduardo Rosales. The detailed rendering of the face in profile stands out against the neutral green background. The very loose brushstrokes are applied with large gestures, bringing out the highlights on the forehead, nose and ear and drawing especial attention to the red button of the Legion of Hon
Benito Soriano Murillo (1827-1891) was an artist and deputy director of the Museo del Prado. He shared Raimundo de Madrazo and his family’s love of music, referred to by the guitar and piano. The elegant pose, characteristic of the French tradition that Madrazo assimilated in Paris, coexists here with the influence of Spanish portraiture and the style of the artist’s father, Federico de Madrazo.
Manzano, a skilled portraitist and leading painter of genre scenes, highlights the fact that -despite his poverty- the boy can read, an uncommon skill in the nineteenth century, even among the middle classes. The realist rendering of the boy’s clothes, his hands and the pages of his book, as well as the refined technique and the sober composition, all point to the early influence of Velázqu
This emblematic picture is undoubtedly the best-known work on a social theme produced by Sorolla in his youth. It is also an especially good example of how fully the artist became involved in a genre which, at the time, was of particular relevance in Madrid’s official artistic circles, where Sorolla was determined to receive his first public recognition. The depth of its meaning is probably indica
Two little girls play with one of the swans in the pool of the Jardín de las Damas at the Real Alcázar in Seville. Madrazo displays here his extraordinary skill with colours, particularly in the rich range of greens that dominate much of the composition, and in the marked contrast between the strongly-lit whitewashed wall and the shady area behind the arches.
The sketch, almost schematic character of this composition makes this one of the most attractive bullfighting scenes ever painted by Fortuny. It offers a panoramic view of a bullring -probably in Madrid- in which the powerful contrast of light between the part in the sun and the part in the shade is outstanding. The painter treats the hustle and bustle of the spectators as an undefined mass, with
En la orilla de una laguna bordeada de juncos y espadañas dos cazadores con sus escopetas, uno de pie y otro sentado, acechan cualquier movimiento en la laguna. A la izquierda, cierra la composición el tronco y parte del ramaje de un soberbio abedul y al fondo una masa de álamos que abren una perspectiva en profundidad. A la derecha, un cerro iluminado por el sol, subraya la tonalidad arcillosa y
Considered one of the finest examples of Francisco Domingo´s portraiture, this work shows an old shoemaker -an extraordinarily popular figure in the old neighborhoods of the major cities- over a neutral background. The loose brushstrokes, applied in short, juxtaposed fashion, bring out the sitter´s intense expression, managing to emphasize his face and neck despite the reduced palette. Domingo con
A young peasant girl from the Lazio flirts with her hands, dressed in traditional costume and leaning on a wall. The picturesque type of Italian country girl known as a ciociara was an extremely popular subject among European painters travelling in Italy at this period. Located in a setting skilfully constructed through the use of a low-level light, Rosales sketches out the figure using broad brus
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
The ruins of an old Tile Factory and the adjacent constuction on Príncipe Pío Hill at the Royal Seat of La Florida, Madrid. This enclave was one of the most visited by Haes and his disciples, as they often went there to do outdoor painting exercises for the San Fernando School. The intensity of the light, the tonal variations of the ochers, browns and greens, and their contrast with
This is the right wing of the Genealogy of the Virgin altarpiece which the Count of Barajas donated to Philip II, according to the inventory of the Alcazar of Madrid of 1600. On the reverse, Saint Bernard of Siena appears in grisaille. The painter represents Zechariah, John the Baptist´s father, in an enclosed garden, employing the squat proportions which are characteristic of this word.
This portrait is one of the most beautiful examples of the great actress María Guerrero’s (1867-1928) lifelong obsession with her own image. She began having her portrait painted by the most famous painters of her time while still an infant. This fixation was favored by her father’s friendship with many of those artists, and as a result, the Museo del Prado has several splendid likeness of
