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Portrait of a Gentleman
Oil on canvas. 1618 - 1623
Maíno, Fray Juan Bautista
Portrait of a Gentleman
Oil on canvas. 1618 - 1623
Maíno, Fray Juan Bautista

Nothing is known of this middle-aged gentleman with his black doublet and cloak, against which the wide, segmented ruff or gola and the delicate white cuff at his right wrist stand out. At his waist are a belt and a sword belt, both very plain, though essential accessories of aristocratic dress in Spain in the Golden Age. The sitter is depicted three-quarter length and lit from the side with a lig

River Landscape with Riders and a Tower
Oil on canvas. XVII century
Anonymous
River Landscape with Riders and a Tower
Oil on canvas. XVII century
Anonymous

On entering the Museum this painting was inventoried as a product of the Sevillian school, though the 1876 catalogue lists it as a work executed in the style of Jan Both. Valdivieso (1973) considers it to be an eighteenth-century Italian work, while Barghahn (1986) identifies it as one of the landscapes in the Palace of the Buen Retiro inventory, though in fact neither the measurements nor the des

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.

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 Annuncation
Oil on panel. Ca. 1565
Morales, Luis de
The Annuncation
Oil on panel. Ca. 1565
Morales, Luis de

In a single sequence, the painting shows the Archangel Gabriel’s greeting to Mary, his announce ment to her that she has been designated as the mother of the son of God, and her acceptance of the divine will (Luke, 1, 26-38). St Gabriel appears on the viewer’s left, kneeling before the Virgin. He is covered in a white tunic constructed with a rich array of solidly drawn folds interspersed with a s

Boys Drawing
Oil on canvas. 1890
Pinazo Camarlench, Ignacio
Boys Drawing
Oil on canvas. 1890
Pinazo Camarlench, Ignacio

As on many other occasions, the painter´s sons are his model for this work. In a barely-furnished room, the two brothers have fun together. José, the elder, leans on the table, drawing, while Ignacio fondly rests his hand on his older brother´s back, observing the progress. This scene is an example of the sort of intimate and familiar painting this artist made throughout his life. Of partic

Tadea Arias de Enríquez
Oil on canvas. Ca. 1789
Goya y Lucientes, Francisco de
Tadea Arias de Enríquez
Oil on canvas. Ca. 1789
Goya y Lucientes, Francisco de

This portrait presents the lady at full length, dressed in the fashion of the time in a tulle gown with lace details. Goya perfectly captures the translucence of the fabric, through which we see the shimmer of the pink skirt the sitter wears underneath. At her waist the lady wears a wide black tulle band, which is also semi-transparent, and on the waistband she has pinned a lovely cameo brooch. He

Ignacio Gutiérrez Solana, Overseer of the Royal Stables
Oil on canvas. Ca. 1823
López Portaña, Vicente
Ignacio Gutiérrez Solana, Overseer of the Royal Stables
Oil on canvas. Ca. 1823
López Portaña, Vicente

The man in the portrait, wearing his palace uniform, holds in his left hand a bundle of “royal orders”. The painting follows the style of portraits of professionals that López worked on in his years at the service of Fernando VII, in which he stressed the sitter’s job through the tools of his trade.

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

Ferdinand VII at an Encampment
Oil on canvas. After 1815
Goya y Lucientes, Francisco de
Ferdinand VII at an Encampment
Oil on canvas. After 1815
Goya y Lucientes, Francisco de

Several portraits of Ferdinand VII are attributed to Goya, though only a few have sufficient quality to be considered fully his own work. Furthermore, there is no accurate documentation of the portraits of a monarch who chose Vicente López to be the official portraitist over Goya. It is, however, clearly documented that Goya, as first court painter, did an equestrian portrait that was one o

The Mancorbo Pass in Picos de Europa
Oil on canvas. 1876
Haes, Carlos de
The Mancorbo Pass in Picos de Europa
Oil on canvas. 1876
Haes, Carlos de

Universally considered the most emblematic painting of Spanish 19th-century realist landscape, this spectacular panorama of Picos de Europa is also Carlos de Haes absolute masterpiece. He painted it at the height of his career, with the confidence and ease of his most refined style. It is thus the maximum example of the powerful transformation that this great master of Belgian origin effected in l

The Virgin Dolorosa
Oil on canvas. Second half of the XVII century
Anonymous
The Virgin Dolorosa
Oil on canvas. Second half of the XVII century
Anonymous

Pietà
Oil on panel. 1565 - 1570
Morales, Luis de
Pietà
Oil on panel. 1565 - 1570
Morales, Luis de

Large-format versions of the Virgin holding the dead body of Christ, like those at Badajoz Cathedral and at the Real Academia de Bellas Artes de San Fernando, gave way in Morales’s oeuvre to smaller compositions on the same subject, with half-length figures shown on a striking background of rigorous black. Against this, the two figures and the upright of the cross are contrasted with strong lighti

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

The Old Usurer
Oil on canvas. 1638
Ribera, Jusepe de, lo Spagnoletto
The Old Usurer
Oil on canvas. 1638
Ribera, Jusepe de, lo Spagnoletto

In this depiction that some have interpreted as an allegory of avarice, an old usurer, with wrinkled face, ragged clothes, an annoyed gaze and a distrustful expression, holds a set of scales, probably for weighing gold. In the sixteen thirties, Ribera´s style grew closer to that of the Venetians and Bolognese painters, yet this work affirms his continuing relation to Caravaggio´s naturalism. This

Aureliano de Beruete y Moret, Son
Oil on canvas. 1902
Sorolla y Bastida, Joaquín
Aureliano de Beruete y Moret, Son
Oil on canvas. 1902
Sorolla y Bastida, Joaquín

Sorolla painted this portrait of Aureliano de Beruete y Moret (1876–1922) the same year he portrayed his father, the painter Aureliano de Beruete, and a year after he painted his mother, María Teresa Moret. In this work—sold to the Beruete family for two thousand five hundred pesetas—however, the artist resorted to a different and more modern format whose narrow verticality more adequately

Josefa Manzanedo e Intentas de Mitjans, 2nd Marchioness of Manzanedo
Oil on panel. 1875
Madrazo y Garreta, Raimundo de
Josefa Manzanedo e Intentas de Mitjans, 2nd Marchioness of Manzanedo
Oil on panel. 1875
Madrazo y Garreta, Raimundo de

After establishing himself in Paris as portrait painter to the elegant and cosmopolitan high society of his time, Raimundo de Madrazo cultivated a particularly abundant clientele among the great ladies of the French capital. A posterior trip to America allowed him to expand his client base to include the leading families of New York. In the 1870s, when Raimundo was beginning to make a place for hi

The Miniaturist Teresa Nicolau Parody
Oil on canvas. Ca. 1844
López Portaña, Vicente
The Miniaturist Teresa Nicolau Parody
Oil on canvas. Ca. 1844
López Portaña, Vicente

As Goya had done with Rosario Weiss, Vicente López undertook to train another of the foremost artists of Spanish Romanticism, the miniaturist Teresa Nicolau. These portraits evince their great respect and appreciation for each other. The court painter depicted his pupil in a three-quarter bust with a white lace mantilla, and although by then she had already been made a member of the Academy

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