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Learning by Heart
Oil on canvas. 1898
Pinazo Camarlench, Ignacio
Learning by Heart
Oil on canvas. 1898
Pinazo Camarlench, Ignacio

A portrait of Ignacio, the artist´s youngest son and one of his favorite models, shown here at the age of eleven. The profusion of child portraits by Pinazo is based on his capacity to capture the freshness and spontaneity of children´s acts, making works of great intimacy and closeness. This portrait may be one of the painter´s finest and it reveals his most personal characteristics. The dark ton

Pedro Benítez and his Daughter María de la Cruz
Oil on canvas. Ca. 1820
Tegeo Díaz, Rafael
Pedro Benítez and his Daughter María de la Cruz
Oil on canvas. Ca. 1820
Tegeo Díaz, Rafael

In this portrait, Pedro Benítez sits informally on a chair, resting his left arm on its back while gazing frankly and directly at the viewer with whom he establishes an empathetic relationship. He is dressed in the fashion of the reign of Ferdinand VII, with a marvellous cravat emerging from his vest and a book in his right hand. Beside him, standing, is his daughter María de la Cruz

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 raising of Lazarus
Oil on canvas. 1635 - 1640
Novelli, Pietro
The raising of Lazarus
Oil on canvas. 1635 - 1640
Novelli, Pietro

This painting has recently been identified as a work by Pietro Novelli, known as Il Monrealese on account of his having been born in Monreale, Sicily. It was considered until 1933 to be the work of Neapolitan painter Andrea Vaccaro, and after that time its authorship was demoted to Anonymous Neapolitan by the Museo del Prado. The painting passed largely unnoticed on account of its being on long-te

María Figueroa, dressed as a menina
Oil on canvas. 1901
Sorolla y Bastida, Joaquín
María Figueroa, dressed as a menina
Oil on canvas. 1901
Sorolla y Bastida, Joaquín

Sorolla was the most gifted Spanish painter of his generation, excelling in portraiture. In the early years of the twentieth century, and especially after the encouragement of winning the Grand Prize in the 1900 Exposition Universelle Paris, he demonstrated the influence of Velázquez through the use of long, confident brushstrokes. This portrait of María de Figueroa y Bermejillo -the

The painter Joaquin Sorolla
Oil on canvas. 1901
Jiménez Aranda, José
The painter Joaquin Sorolla
Oil on canvas. 1901
Jiménez Aranda, José

In 1901, Sorolla and Jiménez Aranda painted portraits of each other. They had known each other since the early 1890s, successively occupied the same study in Madrid, and it was the painter from Seville who introduced Sorolla into the costumbrism painting of Mariano Fortuny. The Valencian artist, here at the age of 38, is portrayed hard at work, wearing his smock and bearing his tools, namel

Reproduction of the Dalmatic of Charlemagne
Oil on canvas. 1889
Coranty [Llurià] de Guasch, Emilia
Reproduction of the Dalmatic of Charlemagne
Oil on canvas. 1889
Coranty [Llurià] de Guasch, Emilia

Emília Coranty, the first woman admitted to study arts and crafts at the Escuela de la Lonja in Barcelona, was awarded a grant to continue her studies in Rome. There she made this copy of the so-called Dalmatic of Charlemagne preserved at St Peter’s, which is said by tradition to have been worn by the emperor on the day of his coronation. The choice of a textile piece demonstrates not only

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.

Queen María Cristina and her Daughter, Isabel II, reviewing the Artillery Batteries defending Madrid in 1837
Oil on canvas. 1865 - 1866
Fortuny, Mariano
Queen María Cristina and her Daughter, Isabel II, reviewing the Artillery Batteries defending Madrid in 1837
Oil on canvas. 1865 - 1866
Fortuny, Mariano

This canvas was displayed on the ceiling of the Salon Rouge of the Duke and Duchess of Riánsares’ Paris mansion. The decoration of this hall, which was designed to receive visitors, glorified María Cristina’s regency and the legitimacy of her daughter Isabella II, which was opposed by the supporters of Carlos María Isidro de Borbón, rival aspirant to the throne. The wor

The Father’s Advice
Oil on canvas. 1892
Francés y Pascual, Plácido
The Father’s Advice
Oil on canvas. 1892
Francés y Pascual, Plácido

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 Annunciation
Oil on canvas. Ca. 1663
Rizi, Francisco
The Annunciation
Oil on canvas. Ca. 1663
Rizi, Francisco

The impetus of the dashing, powerful and monumental angel comes from Ribera. The conception of space and of the sky, with clouds that grow denser in the area just over the luminous horizon, seeks an effect of mass, and of notable solemnity and force. Behind the balustrade, a rose bush silhouetted by the light behind it stands out as a symbol of the Virgin Mary. The meticulously detailed carpet, wi

Contemporary Poets. A Reading by Zorilla in the Painter's Studio
Oil on canvas. 1846
Esquivel, Antonio María
Contemporary Poets. A Reading by Zorilla in the Painter's Studio
Oil on canvas. 1846
Esquivel, Antonio María

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

Saint Jerome
Oil on canvas. 1656 - 1657
Valdés Leal, Juan de
Saint Jerome
Oil on canvas. 1656 - 1657
Valdés Leal, Juan de

Large series of paintings for religious orders were painted throughout the seventeenth century. They include free-standing figures of saints and scenes with more complex compositions. That is the case of the present work, which belongs to a series of saints made around 1657 by Valdés Leal for the Sacristy of the Convent of San Jerónimo in Seville. The series was scattered in the nine

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.

A Procession Passing through the Cloister of San Juan de los Reyes, Toledo
Oil on canvas. Ca. 1892
Brockman y Llanos, Elena
A Procession Passing through the Cloister of San Juan de los Reyes, Toledo
Oil on canvas. Ca. 1892
Brockman y Llanos, Elena

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

Workers on Strike in Vizcaya
Oil on canvas. 1892
Cutanda y Toraya, Vicente
Workers on Strike in Vizcaya
Oil on canvas. 1892
Cutanda y Toraya, Vicente

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

Autumn Memory
Oil on canvas. Ca. 1892
Menassade, Emilia
Autumn Memory
Oil on canvas. Ca. 1892
Menassade, Emilia

This painter of French origin settled in Spain, where she began a career in the 1870s that was to bring her several awards and distinctions. Specialising in still lifes and flower paintings, she was awarded a third-class medal at the 1892 National Exhibition for this work. With close attention to the recreation of textures and extremely intense colouring, she introduced fashionable elements to her

Alida de Lange, Wife of Johan Rammelman
Oil on canvas. Ca. 1679
Netscher, Caspar
Alida de Lange, Wife of Johan Rammelman
Oil on canvas. Ca. 1679
Netscher, Caspar

These two paintings were first shown in Amsterdam in 1858. On that occasion the sitters were identified as Lambert Witsen and his wife Sara Nuyts owing to the woman`s purported similarity to the portrait of the latter (Amsterdam Historisch Museum, inv. SA 989) dated 1684 and included thus by Jan de Baen (1633-1702) in his work, Portrait of the Regents of the Spinhuis in Amsterdam.Moes (1897-1905)

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