Loading...
La obra corresponde al primer periodo pictórico de Théo Van Rysselberghe, en el que los pintores que más admiraba constituían su guía para la realización de sus obras. Entre ellos se encontraban su pr [+]
[+]
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, introspec [+]
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 [+]
A view of the profile of the Villerville mansion from the beach. The short, impasto and vibrant brushtrokes emphasize the sensation of a fleeting moment that Haes seems to have wanted to capture with [+]
Sobre una gran extensión de playa una barca pesquera con los mástiles erguidos y las velas replegadas descansa en la arena. Alrededor de ella cinco figuras diminutas de pescadores. A la izquierda mont [+]
A la izquierda, sobre un montículo, matorrales y un poste en primer término. Detrás, restos de una empalizada que baja hasta el mar. En el centro y sobre la arena, restos de troncos arrastrados por la [+]
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 [+]
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 lan [+]
A landscape of the barren plains of Aragon, where the absence of vegetation makes rock the protagonist and the element used to build the painting. From the boulders in the foreground to the mountains [+]
Jiménez Aranda spent the 1880s in France where he encountered the naturalistic style of Jules Bastien-Lepage (1848-1884), and a subsequent period in Madrid where his work influenced Joaqu&iacut [+]
During his time in Paris, Jiménez Aranda regularly produced tableautins (small, precisely painted works on eighteenth-century themes). The detailed description of the figures here contrasts wit [+]
Sobre la arena pedregosa, restos de seis postes de una empalizada. Al fondo, a la derecha, un montículo con cuatro construcciones y en el declive que se adentra en el mar, un embarcadero. Sobre el mar [+]
These works formed the upper section of the Altar Piece of Saint Ursula in the church of San Pablo in Palencia. The style of these paintings, typical of the International Gothic, led them to originall [+]
The artist chose the end of a wedding banquet in the country to offer a depiction of rural life during one its most collective moments. Some figures are shown inebriated, others are dancing, kissing a [+]
These works formed the upper section of the Altar Piece of Saint Ursula in the church of San Pablo in Palencia. The style of these paintings, typical of the International Gothic, led them to originall [+]
This canvas and its companion, Taste, Hearing and Touch (P1404), represent the five senses embodied by female figures in palatial interiors. The sense of smell is conveyed by a woman holding flowers, [+]
Seeing the cadaver of Empress Isabel of Portugal, the wife of Carlos V, has a profound effect on Francisco de Borja, Duke of Gandía, who almost collapses in front of one of his knights. The mel [+]
&imagen=https%3a%2f%2fcontent3.cdnprado.net%2fimagenes%2fDocumentos%2fimgsem%2f21%2f2131%2f213185cc-9005-4f92-8f9e-f80bf6aa91d1%2fe2db744a-e7b7-41d1-a28c-7a7a8b0521c8_268.jpg&idobra=213185cc-9005-4f92-8f9e-f80bf6aa91d1){kind=link}
&imagen=https%3a%2f%2fcontent3.cdnprado.net%2fimagenes%2fDocumentos%2fimgsem%2f30%2f3024%2f3024cd5b-7fb4-4d26-8db9-c30a3380604f%2fc416957a-d02d-413a-89b4-cfa3d41ad67a_268.jpg&idobra=3024cd5b-7fb4-4d26-8db9-c30a3380604f){kind=link}
