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The Triumph of Bacchus
Oil on canvas. After 1635
Finoglia, Paolo Domenico
The Triumph of Bacchus
Oil on canvas. After 1635
Finoglia, Paolo Domenico

Paolo Domenico Finoglia was deeply involved in the creation of paintings for the History of Rome cycle at the Buen Retiro Palace. His participation includes this superb Triumph of Bacchus, a Gladiators’ Fight (Patrimonio Nacional, Inv. 10022324) and a painting with a very obscure subject traditionally known as Masinissa Mourning Over the Death of Sophonisba (P2280). This final work was even attrib

The Duke and Duchess of Osuna and their Children
Oil on unlined canvas. 1787 - 1788
Goya y Lucientes, Francisco de
The Duke and Duchess of Osuna and their Children
Oil on unlined canvas. 1787 - 1788
Goya y Lucientes, Francisco de

A portrait of the Duke of Osuna, Pedro Téllez Girón (1755-1807); his wife, the Countess-Duchess of Benavente, Josefa Alonso de Pimentel (1752-1834) and their four children: Francisco de Borja (1785-1820), the following Duke of Osuna; Pedro de Alcántara (1786-1851), the future Prince of Anglona; Maria Manuela (1783-1838) and Joaquina (1784-1851), the future Marchioness of Santa

The Adoration of the Shepherds
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista
The Adoration of the Shepherds
Oil on canvas. 1612 - 1614
Maíno, Fray Juan Bautista

On 14 February 1612 Juan Bautista Maíno signed the contract to execute the paintings for the monastery church of San Pedro Mártir in Toledo. Maíno agreed to a period of eight months to make the paintings, which had to portray the scenes and episodes specified by the prior of the monastery. Despite the agreement reached in the contract, the paintings were not completed until De

A Square in Paris
Oil on canvas. 1887
Meifrén Roig, Eliseo
A Square in Paris
Oil on canvas. 1887
Meifrén Roig, Eliseo

This is one of Meifrén’s views of Paris, where he spent various periods from the late 1870s onwards. It depicts a café on the Place de Clichy near Montmartre. It predates the depictions of such subjects by other Catalan artists including Santiago Rusiñol and Ramón Casas, while the truncated, angled position of the table in the foreground reveals the influence of the rec

The chamber of Philip IV in the Buen Retiro Royal Palace
Oil on panel. 1881
Poleró y Toledo, Vicente
The chamber of Philip IV in the Buen Retiro Royal Palace
Oil on panel. 1881
Poleró y Toledo, Vicente

Mariana of Austria, Queen Consort between 1665 and 1675, talks to the Jesuit priest Nithard, her confessor and confidant, in the presence of her son Charles II, still a minor. The scene takes place in a room in the Buen Retiro Palace –on the left we see a Hieronymite monk– decorated by the painter with works related to Velazquez and King Philip IV: Las Meninas, the equestrian portraits of Philip I

Memories of Granada
Oil on canvas. 1881
Muñoz Degrain, Antonio
Memories of Granada
Oil on canvas. 1881
Muñoz Degrain, Antonio

Torrential rain falls on one of the most picturesque areas of the city of Granada, where the Darro River runs alongside the street leading to the Generalife neighborhood. The choice of this city for a pictorial scene is significant in Muñoz Degrain, as he was attracted to its historical past and the possibility of recreating legendary Arab episodes, often set in the Alhambra. The stormy sub

Mountains (Majorca)
Oil on panel. Ca. 1877
Haes, Carlos de
Mountains (Majorca)
Oil on panel. Ca. 1877
Haes, Carlos de

Un cercado, semi cubierto por matorrales y arbustos floridos, abre paso a un camino que se pierde por la izquierda. Al fondo, el desmonte de una pendiente iluminada fuertemente por el sol da paso a la mole pétrea de los picos montañosos donde los juegos de luces y de sombras y las pinceladas briosas y empastadas van marcando los volúmenes y los accidentes geológicos. A la derecha, más difuminado,

The Legend of the Monk King
Oil on canvas. 1880
Casado del Alisal, José
The Legend of the Monk King
Oil on canvas. 1880
Casado del Alisal, José

Traditionally known as The Bell of Huesca, this painting depicts one of the most terrifying events in the history of Medieval Spain. Ramiro II of Aragon decapitated all the noblemen who had dared to challenge his royal power, one by one. As he had promised to make a bell that would ring to reaffirm his power, he did so with the heads of the rebel noblemen. For the clapper, he used the head of the

La Tirana
Oil on canvas. Ca. 1875
Casado del Alisal, José
La Tirana
Oil on canvas. Ca. 1875
Casado del Alisal, José

This painting features a young and attractive “Manola” [woman of the people, particularly in Madrid] reminiscent of the famous actress nicknamed “the Tyrant” portrayed by Goya. Slightly recumbent on a finely-carved couch, she is wearing a striking blue gold-embroidered short jacket. The picture is highly charged with sensuality and eroticism, embodied through her languid gaze, her gesture of cover

The road near Villerville (Normandy)
Oil on canvas mounted on panel. Ca. 1877
Haes, Carlos de
The road near Villerville (Normandy)
Oil on canvas mounted on panel. Ca. 1877
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

Spain pays Homage to Religion and Faith
Oil on canvas. 1759
Giaquinto, Corrado
Spain pays Homage to Religion and Faith
Oil on canvas. 1759
Giaquinto, Corrado

In what is now the stairway at Madrid’s Royal Palace, Corrado Giaquinto developed a program depicting the Spanish Monarchy, its virtues and its historical mission to serve and defend Religion. Allegorical representations of Religion and the Catholic Church appear at the centre of Spain pays homage to Religion and to the Church, 1759. Religion is depicted as a woman carrying a cross in her left han

Sancho Panza recovers his lost donkey
Oil on canvas. Ca. 1894
Moreno Carbonero, José
Sancho Panza recovers his lost donkey
Oil on canvas. Ca. 1894
Moreno Carbonero, José

In the last quarter of the nineteenth century, a significant number of Spanish writers and artists viewed themselves as heirs to the rich heritage of the Golden Age realist tradition, particularly the work of Miguel de Cervantes and Diego Velázquez. Their interpretation and imitation of those models lent nineteenth-century Spanish naturalism its particular character within the larger contex

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 Stigmata of Saint Francis
Oil on canvas. Ca. 1651
Cano, Alonso
The Stigmata of Saint Francis
Oil on canvas. Ca. 1651
Cano, Alonso

This canvas was part of the decoration of the chapel dedicated to that saint at the Franciscan convent of Santa María de Jesús (known as San Diego de Alcalá) in Alcalá de Henares. Part of its considerable interest is that it may be considered a fine example of the artist’s Madrid period, around 1650-52, when he made some of his finest works. Stylistically, it is probabl

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

Before the Wedding
Oil on canvas. 1882
Muñoz Degrain, Antonio
Before the Wedding
Oil on canvas. 1882
Muñoz Degrain, Antonio

A very beautiful study of Isabel de Segura, the protagonist of the nineteenth-century legend of The Lovers of Teruel, which was dramatized in verse by Hartzenbusch. The bride, prepared to marry Rodrigo de Azara, the spouse her father chose for her, wears an expression of profound sadness and desperation at not being able to marry her true love, Diego de Marsilla. The modernity of Muñoz Degr

The Artist
Oil on canvas. Ca. 1887
Martínez del Rincón y Trives, Serafín
The Artist
Oil on canvas. Ca. 1887
Martínez del Rincón y Trives, Serafín

El palentino Martínez del Rincón desarrolló una carrera marcada por las reminiscencias de un romanticismo tardío. Combinó su interés por los asuntos orientalistas con la pintura de tipos femeninos, que abordó siempre desde arquetipos conservadores. Esta es una de sus pinturas más célebres en ese sentido, y una de las muchas imágenes de la feminidad que le adquirió el Estado a través de los premios

Jaime Girona, later 1st Count of Eleta
Oil on canvas. 1856
Madrazo y Kuntz, Federico de
Jaime Girona, later 1st Count of Eleta
Oil on canvas. 1856
Madrazo y Kuntz, Federico de

This portrait of Jaime Girona, a politician and financier from Barcelona, is of a typology that the artist repeated frequently in portraits of the bourgeoisie in the 1850s, and it is perhaps his work of highest quality. The naturalness of the sitter is remarkable, as is the careful modelling and the delicate precision in the representation of his hands.

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