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The Model Aline Masson
Oil on panel. Ca. 1876
Madrazo y Garreta, Raimundo de
The Model Aline Masson
Oil on panel. Ca. 1876
Madrazo y Garreta, Raimundo de

Aline Masson was Madrazo’s favourite model for genre paintings. Her heavy-lidded gaze and slightly defiant attitude convey the frivolous atmosphere of Paris, where Madrazo’s portraits met with great acclaim. Here, the artist displays his technical skill in using a reduced range of colours, applied with deft, confident brushstrokes.

Ferdinand VII in Court Dress
Oil on canvas. 1814 - 1815
Goya y Lucientes, Francisco de
Ferdinand VII in Court Dress
Oil on canvas. 1814 - 1815
Goya y Lucientes, Francisco de

Born in 1784 in El Escorial, Fernando VII was Carlos IV eldest son by Maria Luisa. In 1815, after abolishing the Constitution, he reined as an absolute monarch. He appears wearing the symbols of his royal condition, with a purple, ermine-lined robe, and a scepter with the coat of arms of Castile and Leon in his right hand. The sash of the Order of Carlos III crosses his chest, and he also bears th

The painter Antonio Gomar y Gomar
Oil on canvas. 1906
Sorolla y Bastida, Joaquín
The painter Antonio Gomar y Gomar
Oil on canvas. 1906
Sorolla y Bastida, Joaquín

The Valencian painter Antonio Gomar (1853-1911), who specialised in landscapes and decorative compositions, is portrayed by his compatriot Sorolla at the age of 53. The work’s landscape format, influenced by photography, and which Sorolla reserved for portraits of family and friends, is indicative of how close he was to his model. Painted in the foreground, his body foreshortened to the left, and

The Pearl and the Wave
Oil on canvas. 1862
Baudry, Paul
The Pearl and the Wave
Oil on canvas. 1862
Baudry, Paul

An intensely sensual female nude that presents the figure in the form of a pearl enclosed in its box, the ocean, which may be an allusion to the birth of Venus. Presented at the Paris Salon of 1863, this work was one of the most appreciated female nudes of Second Empire Paris, despite the strong criticism it received as an exultantly erotic work lacking any moral modesty. Its first owner was the E

Morocans
Oil on panel. 1872 - 1874
Fortuny, Mariano
Morocans
Oil on panel. 1872 - 1874
Fortuny, Mariano

Fortuny’s predilection for beautifully colored and very carefully painted panels is perfectly exemplified by the present work, which reveals his mastery of tableautin, a type of painting that garnered considerable commercial success for artists such as Jean-Louis-Ernest Meissonier (1815-1891), although the latter’s execution was much more meticulous and drawn. The Orientalist genre was also the ob

Manuela de Errazu
Oil on canvas. 1870 - 1871
Madrazo y Garreta, Raimundo de
Manuela de Errazu
Oil on canvas. 1870 - 1871
Madrazo y Garreta, Raimundo de

The eldest of six children born to Joaquín María de Errazu and Guadalupe Rubio de Tejada, Manuela was born in Querétaro (Mexico) in 1839. Her family, of Spanish origin, amassed a huge fortune through the industrial development of that Central-American country. When she was fifteen years old, her parents moved to the most exclusive neighborhood in Paris. There, despite some cri

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

The Painter Eduardo Zamacois
Oil on canvas. 1863 - 1864
Madrazo y Garreta, Raimundo de
The Painter Eduardo Zamacois
Oil on canvas. 1863 - 1864
Madrazo y Garreta, Raimundo de

As the dedication indicates, this portrait reflects the close friendship between the artist and Eduardo Zamacois (1841-1871), his friend and fellow artist in Paris. Despite the portrait’s restrained, intimate nature, defined by its format and dark tonalities, the sitter is elegantly presented and enlivened by the red of his beret.

Juan de Austria's Presentation to Emperor Charles V in Yuste
Oil on canvas. 1869
Rosales Gallinas, Eduardo
Juan de Austria's Presentation to Emperor Charles V in Yuste
Oil on canvas. 1869
Rosales Gallinas, Eduardo

The Lane
Oil on canvas. 1871
Haes, Carlos de
The Lane
Oil on canvas. 1871
Haes, Carlos de

These are instantaneous sketches taken directly from nature, here on the coast, in the French countryside, and in the mountains of Picos de Europa. Haes was a moving force in the transformation of landscape painting, bringing a completely new concept of the interpretation of Nature, with a realism that was sensitive to all elements. In all his landscapes, Haes very exactly captures the physical as

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).

El Cid's Daughters, from Romance XLIV of the Tesoro de Romanceros
Oil on canvas. 1871
Puebla y Tolín, Dióscoro Teófilo
El Cid's Daughters, from Romance XLIV of the Tesoro de Romanceros
Oil on canvas. 1871
Puebla y Tolín, Dióscoro Teófilo

Abused and raped by their husbands the Counts of Carrión, the daughters of El Cid –Doña Elvira and Doña Sol– were abandoned, bound and semi-naked, in a forest. In the background, the aggressors can be seen fleeing into a clearing. This episode, inspired by one of the most dramatic passages in the Romance del Cid, was very popular amongst nineteenth-century history painters, fo

Concepción Serrano, later Countess of Santovenia
Oil on canvas. 1871
Rosales Gallinas, Eduardo
Concepción Serrano, later Countess of Santovenia
Oil on canvas. 1871
Rosales Gallinas, Eduardo

María de la Concepción Serrano y Domínguez was the eldest child of General Serrano, the Duke of Torre. She was born in Havana in 1860, which her father was Commander in Chief of Cuba. In 1880, she married the second Count of Santovenia. She died in 1941 in Biarritz, her habitual residence. Rosales´ portrait shows a girl of eleven in a very gracious poise, secure in her social

Vicente Palmaroli
Oil on canvas. 1866 - 1867
Madrazo y Kuntz, Luis de
Vicente Palmaroli
Oil on canvas. 1866 - 1867
Madrazo y Kuntz, Luis de

Retrato de busto, el rostro ofrece amplia y despejada frente, con ojos que trasmiten un aire veladamente burlón, reforzado por esa boca entreabierta que parece iniciar una sonrisa, extenso bigote y perilla que buscan deshacer cierta tendencia a la redondez de los rasgos, y melena corta y amplia a ambos lados de la cabeza. Un rostro afable que se advierte también en el retrato conservado en el Círc

The Death of Seneca
Oil on canvas. 1871
Domínguez Sánchez, Manuel
The Death of Seneca
Oil on canvas. 1871
Domínguez Sánchez, Manuel

Emperor Nero accused his teacher, Seneca, of treason and ordered his execution. Scorning imperial power, the philosopher decided to take his own life. First he cut his veins and then he took poison. In the end, though, it was the vapors from a brazier that put an end to his suffering. The painting shows the moment when Seneca lies in the bathtub, surround by his weeping friends. The still-smoking

Self-portrait
Tempera on canvas mounted on panel. 1947
Fortuny y Madrazo, Mariano
Self-portrait
Tempera on canvas mounted on panel. 1947
Fortuny y Madrazo, Mariano

Mariano Fortuny Madrazo (Granada, 1871-Venecia, 1949) se autorretrata en busto, de frente y hasta los hombros, a la edad de setenta y seis años. Aparece vestido con la bata que usaba habitualmente para trabajar, bajo la que asoma el cuello de la camisa. El artista, que hizo un análisis de las avejentadas facciones de su cara, presenta el pelo blanco todavía abundante y una poblada barba cana que o

Louise Amour Marie de Bouillé, later Marchioness of Rambures
Oil on canvas. Ca. 1871
Madrazo y Kuntz, Federico de
Louise Amour Marie de Bouillé, later Marchioness of Rambures
Oil on canvas. Ca. 1871
Madrazo y Kuntz, Federico de

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

The Garden of the Fortuny Residence
Oil on panel. 1872 - 1877
Fortuny, Mariano; Madrazo y Garreta, Raimundo de
The Garden of the Fortuny Residence
Oil on panel. 1872 - 1877
Fortuny, Mariano; Madrazo y Garreta, Raimundo de

This work bears exceptional witness to the concurrence of Fortuny’s painting with that of his close friend, Raimundo de Madrazo. Begun by the former, it was completed after his death by the latter with a completely concordant style that does not, however, hide Madrazo’s own individuality. Fortuny had been living in Granada since the summer of 1870 and he spent the best days of his life there befor

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