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In the Studio
Oil on panel. Ca. 1880
Palmaroli y González, Vicente
In the Studio
Oil on panel. Ca. 1880
Palmaroli y González, Vicente

A young woman seems to gaze dreamily at a canvas on an easel, over which a large cloth has been partially draped, and at a sheaf of prints on a stool. The Japanesestyle clothes, the bright colours and the cluttered scene - highly decorative in effect- clearly point to the influence of Fortuny’s orientalism on Palmorali’s work.

The Painter Aureliano de Beruete
Oil on canvas. 1902
Sorolla y Bastida, Joaquín
The Painter Aureliano de Beruete
Oil on canvas. 1902
Sorolla y Bastida, Joaquín

The Painter Aureliano de Beruete is the most outstanding of all the portraits made by Sorolla. In this work he successfully combined the Velázquez inspiration that was a feature of his oeuvre during that period with direct and rigorous painting from the life and a profound and sensitive interpretation of the sitter’s outstanding personality. Sorolla was especially gifted at portraiture owin

The Lamentation over the Dead Christ
Oil on panel. Ca. 1550
Correa de Vivar, Juan
The Lamentation over the Dead Christ
Oil on panel. Ca. 1550
Correa de Vivar, Juan

This panel depicts the moment when the dead Christ’s body has been lowered from the cross and is attended at its foot by the Virgin, Saint John and Mary Magdalene. In the middle-ground are Joseph of Arimathea, Nicodemus and one of the Holy Women. The panel must have been part of a larger work of which nothing is now known.

The Crucified Christ with a Painter
Oil on canvas. Ca. 1650
Zurbarán, Francisco de
The Crucified Christ with a Painter
Oil on canvas. Ca. 1650
Zurbarán, Francisco de

A painter devoutly contemplates the almost-sculptural figure of Christ on the Cross, which stands out against the dark background. It is Saint Luke, who was not only an evangelist, but also a doctor and artist. This biblical reference may actually hide a more general allusion to the value of painting as the art that is most useful as an instrument of religious devotion. It has also been pointed ou

Hollyhocks
Oil on canvas. 1872 - 1873
Fortuny, Mariano
Hollyhocks
Oil on canvas. 1872 - 1873
Fortuny, Mariano

Fortuny enjoyed painting flowers in bloom in his scenes. Attracted by their colours, he also made separate studies of them. His favourites were hollyhocks on account of their pleasing hues and the elegant verticality of their stalks, which is accentuated by the format used here. As the background is devoid of references, their corollas appear to float in an indeterminate space, with varying degree

The old-fashioned Cobbler
Oil on canvas. 1870 - 1875
Domingo Marqués, Francisco
The old-fashioned Cobbler
Oil on canvas. 1870 - 1875
Domingo Marqués, Francisco

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

Saint Dominic of Guzmán
Oil on panel. Ca. 1528
Benson, Ambrosius
Saint Dominic of Guzmán
Oil on panel. Ca. 1528
Benson, Ambrosius

The Descent from the Cross
Oil on panel. Ca. 1545
Correa de Vivar, Juan
The Descent from the Cross
Oil on panel. Ca. 1545
Correa de Vivar, Juan

This New Testament scene depicts the Descent from the Cross of Christ´s body (Matthew 28, 57-61; Mark 15, 42-47; Luke 23, 50-55; John 19, 38-42). Joseph of Arimathea, Nicodemus and Saint John the Evangelist remove the nails and take down the Holy Body, while Mary Magdalene laments at his feet and the Virgin is consoled by other holy women. This is considered one of Correa´s finest works. The balan

Saint Dominic of Guzmán
Oil on panel. Second third of the XVI century
Correa de Vivar, Juan
Saint Dominic of Guzmán
Oil on panel. Second third of the XVI century
Correa de Vivar, Juan

Birthday Wishes
Oil on canvas. Ca. 1880
Madrazo y Garreta, Raimundo de
Birthday Wishes
Oil on canvas. Ca. 1880
Madrazo y Garreta, Raimundo de

Aline Masson, the painter´s model, contemplates the signet -sealed envelope she holds in her right hand, which presumably arrived with the bouquet of flowers she holds in her left. The blue robe with cottony white edging gives the scene a homey feeling appropriate to the subject, but wisely used by the painter to bring out the young woman´s fine, pale skin. This work is approached in the style of

Still Life with Game, Vegetables and Fruit
Oil on canvas. 1602
Sánchez Cotán, Juan
Still Life with Game, Vegetables and Fruit
Oil on canvas. 1602
Sánchez Cotán, Juan

This still life shows the inside of a cupboard. On the shelf are a group of birds consisting of two serins, two goldfinches and two sparrows on a cane, as well as three carrots, two radishes, and a large white thistle that closes the composition. Hanging from the upper sill are three lemons, seven apples, a goldfinch, a sparrow and two red partridges. The composition is outstanding for its sobriet

María Teresa Moret
Oil on canvas. 1901
Sorolla y Bastida, Joaquín
María Teresa Moret
Oil on canvas. 1901
Sorolla y Bastida, Joaquín

Representative of Sorolla’s fully mature period, this work is also one of the finest female portraits he ever executed. The artist knew the sitter very well, as she was the wife of one of his closest friends, whose portrait he would, in turn, paint the following year. The amiable frankness with which they related to each other, expressed by the artist in his dedication, and his recognition of the

The Coronation of the Virgin
Mixed method on panel. Ca. 1490
Maestro de las Once Mil Vírgenes
The Coronation of the Virgin
Mixed method on panel. Ca. 1490
Maestro de las Once Mil Vírgenes

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 Painter's Children in the Japanese Room
Oil on canvas. 1874
Fortuny, Mariano
The Painter's Children in the Japanese Room
Oil on canvas. 1874
Fortuny, Mariano

Fortuny’s sudden death left this painting unfinished, yet it remains one of his finest pieces, and the maximum expression of the audacious pictorial modernity that characterizes his mature work.The two children that appear in this canvas are the artist’s own son and daughter, Mariano and María Luisa. They rest on the long divan in the Japanese Room at Villa Arata, the Fortuny family’s summe

Father Francesco Pepe
Oil on canvas. 1758 - 1759
Mengs, Anton Raphael
Father Francesco Pepe
Oil on canvas. 1758 - 1759
Mengs, Anton Raphael

Francesco Pepe (c. 1684-1759), an influential Jesuit preacher in Naples, promoted the dogma of the Immaculate Conception and acted as intermediary between Pope Benedict XIV and the Bourbon monarch Charles VII, King of Naples and Sicily. Mengs painted the priest in Rome in 1758 on their only meeting. Cut down at an early date, the canvas may originally have shown Pepe seated, as suggested by the sl

Doorway of a House in Toledo
Oil on panel. 1875 - 1878
Rico y Ortega, Martín
Doorway of a House in Toledo
Oil on panel. 1875 - 1878
Rico y Ortega, Martín

Rico combines his interest in the old buildings of Toledo, a city that he visited in 1875, with the picturesque motif of donkeys bearing water pitchers. His composition is based on various rapid, deft sketches that he made in one of his notebooks. The principal focus of interest is the effect of the dazzling sunlight of Toledo as it falls on the house façades.

The Engraver Bernardo Rico
Oil on canvas. Ca. 1870
Madrazo y Garreta, Raimundo de
The Engraver Bernardo Rico
Oil on canvas. Ca. 1870
Madrazo y Garreta, Raimundo de

This painting and its dedication demonstrate the friendship between Raimundo de Madrazo and Bernardo Rico (1825-1894), a leading wood engraver and the brother of the painter Martín Rico. The controlled, precise brushstroke on the face contrasts with the looser and more fluid handling of the background.

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