Loading...
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
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
Simonet´s work is based on a passage from the Gospel of Saint Luke (19: 41) which prophesies the destruction of Jerusalem: “Videns Jesus civitatem flevit super illam” (And when he was come near, he beheld the city, and wept over it). Simonet focuses on conveying Christ?s most human aspect, while his intention to offer a realistic depiction led him to travel to Palestine to see the actual Biblical
The crucifixion of Christ is depicted by the artist in a barren, desolate landscape, a setting essentially undefined thanks to an enormous neutral background intended to heighten its dramatic effect. The painting´s great size -it was probably intended for a chapel altar- endows the divine figure with a monumental appearance further reinforced by its detailed anatomical study. The cross sunk
This emblematic picture is undoubtedly the best-known work on a social theme produced by Sorolla in his youth. It is also an especially good example of how fully the artist became involved in a genre which, at the time, was of particular relevance in Madrid’s official artistic circles, where Sorolla was determined to receive his first public recognition. The depth of its meaning is probably indica
An image of a young milkmaid with an apron, a shawl on her shoulders and a scarf holding back her hair. There is a milk jug behind her, to the left. The bottom-to-top perspective seems intended to give the sensation that she is riding a mule. The light colors and straightforward subject matter contrast with Goya´s last works, both in Madrid and in Bordeaux, when darker color schemes brought out mo
Pinazo captured the essence of childhood on numerous occasions, but here he proves more ambitions. With the inquisitive and profound gaze of his son, he manages to capture the intelligence and curiosity of a child on the edge of adolescence who has still not abandoned the innocence of childhood. This work was acquired for the Museum of Modern Art in 1957, along with other works by the same artist.
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).
The woman seated at the back of the carriage is an open allusion to the famous parricide immortalised by Sorolla in his painting Another Marguerite!! (Saint Louis, Missouri, Kemper Art Museum). With a repressed expression that evidences a certain guilt, the young woman looks at the wet nurse in the foreground, one of those women who were subsidised by the State to nurse the children in foundling h
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
At the National Exhibition of 1892, history painting was definitively superseded by social realism. This was largely due to the prestige of this picture, which won the first medal in Madrid after previously obtaining the same distinction at the 1889 Universal Exhibition in Paris. Directly influenced by Jules Bastien-Lepage, Jiménez Aranda paints an attractive naturalist scene with no trace
Painted in a realist style, the scene shows a humble builder with his two daughters during his lunch break. As the title of the painting informs us, he is giving them some advice. We cannot hear what he is saying, but the awkward courtship scene between the figures in the background reveals the content of his words, and with it the moralising role played by men in women’s education.
The most famous of Esquivel´s pieces and a leading work of Spanish Romanticism. Considered the maximum graphical testimony to the intellectual atmosphere during the reign of Isabel II (1830 - 1904), this canvas depicts a fictitious meeting of Esquivel´s most relevant cultural contemporaries. The composition combines the complexities of a group portrait with the scheme of Flemish Baroque cabinet po
El retratado cuenta cuarenta y cuatro años y lo presenta Sorolla en busto prolongado, sin llegar al medio cuerpo, de tres cuartos a la derecha. Medio despeinado y con barba y bigote no recortados, dotándole de un aspecto bohemio, potenciado por la camisa blanca con chalina oscura y encima una bata de pintor. Ejecución muy suelta en chaqueta y fondo, muy realista y minuciosa en el rostro. Sorolla a
Este lienzo, premiado con una segunda medalla en la Exposición Nacional de Bellas Artes de 1892, supone el primer éxito público de Pla en el género del realismo social, puesto de moda en las dos últimas décadas del siglo, y en el que este maestro valenciano dejará algunas de sus obras más significativas, en las que sin embargo aparece siempre considerablemente tamizado el sentido crítico de sus ar
In 1895, Elena Brockmann, a painter from Madrid who had studied first at the Academy of San Fernando and later under Joaquín Sorolla in Rome, became the first Spanish woman to submit a history painting to a National Exhibition. Three years earlier she had presented this costumbrista painting, in which a large number of figures are shown in a space with marked perspective. Her ambitious comp
This painting shows the moment when the corpse of the favourite of John II of Castile is publicly displayed after his execution. Don Alvaro de Luna was a figure retrieved by 19th century culture as a cause for reflection on the dangers of ephemeral political power.
Social demands crossed over into Spanish art from the real world in the last decade of the 19th century. Cutanda was the most renowned representative of social painting, as he was awarded a first-class medal at the 1892 Fine Arts Exhibition for this canvas. In his interpretation, the unrest in the iron and steel industry is transformed into a cultured image whose size and rhetoric are those associ
