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Two Cows in a Meadow
Oil on panel. 1652
Potter, Paulus
Two Cows in a Meadow
Oil on panel. 1652
Potter, Paulus

Two Cows in a Meadow is one of Paulus Potter`s characteristic cabinet paintings featuring domestic animals, which were generally much more accomplished than his large compositions. They may be interpreted as a transposition to the Dutch countryside of the Roman rural landscapes with animals of Pieter van Laer, il Bamboccio (ca. 1592-1642). Hofstede de Groot does not mention this painting. Walsh (1

Young Man drawing
Oil on panel. XVIII century
Palthe, Gerhard Jan
Young Man drawing
Oil on panel. XVIII century
Palthe, Gerhard Jan

Inside a room, a young man is copying a classical bust by candlelight. Since 1910 this work appears in the Museo del Prado catalogues as signed and dated on the lower left angle (G. J. Palthe f. 1732), but there is no longer any evidence of this. The scene is typical of the kind painted by Godfried Schalcken (P2078), of whom Palthe was a follower. The young man, the bust and the candle also crop u

And They Still Say Fish Is Expensive!
Oil on canvas. 1894
Sorolla y Bastida, Joaquín
And They Still Say Fish Is Expensive!
Oil on canvas. 1894
Sorolla y Bastida, Joaquín

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

Female Nude
Oil on panel. 1894
Pinazo Camarlench, Ignacio
Female Nude
Oil on panel. 1894
Pinazo Camarlench, Ignacio

This portrait of a nude young woman sitting in an armchair with her clothing falling to her feet and a certain gesture of modesty betrays the artist´s satisfaction with the subject of nudes and the sensuality of the female body. The coloring tends towards reds and yellows and is one of the singular elements of this nude, which is one of several painted by Pinazo. Here, the amount of paint seems to

Blind Man’s Buff
Oil on canvas. Ca. 1889
Jiménez Aranda, José
Blind Man’s Buff
Oil on canvas. Ca. 1889
Jiménez Aranda, José

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 with a freer approach to the background trees, revealing the artist’s powers as a landscape painter and the influence of French naturalism, which would determine his subsequent evolution.

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

Federico Flórez y Márquez
Oil on canvas. 1842
Madrazo y Kuntz, Federico de
Federico Flórez y Márquez
Oil on canvas. 1842
Madrazo y Kuntz, Federico de

A full-length portrait of Federico Flórez as a boy, wearing the uniform of the School of Noble Students of Madrid. This work is especially significant in Madrazo´s oeuvre, as it is one of the few examples of a portrait in a landscape. The evocation of Velasquez´s world is combined with the approach of European Romanticism, including a sensationalist lighting that envelops the figure in a cr

A Landscape. Recollections of Andalusia: The Mediterranean Coast near Torremolinos
Oil on canvas. 1860
Haes, Carlos de
A Landscape. Recollections of Andalusia: The Mediterranean Coast near Torremolinos
Oil on canvas. 1860
Haes, Carlos de

Throughout the second half of the nineteenth century, Carlos de Haes was the leading landscape artist in Spain, not only because of his continuous activity as a painter in that genre but also because of his role as a teacher, for he held the chair of Landscape Painting in Madrid´s Higher School of Painting, Sculpture and Printmaking (Escuela Superior de Pintura, Escultura y Grabado). There he trai

Interior of a Café-concert
Oil on canvas. Ca. 1900
Anglada Camarasa, Hermenegildo
Interior of a Café-concert
Oil on canvas. Ca. 1900
Anglada Camarasa, Hermenegildo

Following his arrival in Paris in 1894, Anglada-Camarasa became extremely interested in the city’s nightlife. The interior of this café-concert, one of the many to be found in the capital, is seen without the audience or the performers, allowing the artist to focus on the effects of the artificial lights that produce a wide range of reflections and colours.

Carolina Coronado
Oil on canvas. Ca. 1855
Madrazo y Kuntz, Federico de
Carolina Coronado
Oil on canvas. Ca. 1855
Madrazo y Kuntz, Federico de

The writer Carolina Coronado (1820-1911) was a leading Romantic poet and a staunch advocate of education for women. Her sensitive, melancholy nature is conveyed here with delicate precision. The meticulous draughtsmanship reflects Madrazo’s academic training, whilst the beautiful black tones of the shawl, like the austere palette, recall the traditions of seventeenthcentury Spanish painting.

El Cid
Oil on canvas. 1879
Bonheur, Rosa
El Cid
Oil on canvas. 1879
Bonheur, Rosa

During the Franco-Prussian War, Rosa Bonheur developed a singular fondness for lions. According to Anna Klumpke, her partner in the final years of her life, Bonheur was always attracted to the primeval energy of animals. She began studying them at fairs, which she visited in trousers to observe horses and cattle. Her choice of clothing required a “transvestite permit” from the authorities, as only

The Virgin and Child with two Angels
Oil on panel. 1480 - 1490
Memling, Hans
The Virgin and Child with two Angels
Oil on panel. 1480 - 1490
Memling, Hans

The Virgin appears seated in a walled garden, an allusion to the hortus conclusus or enclosed garden, which symbolizes her perpetual virginity. In her arms she holds the Christ Child, who takes an apple from an angel´s hand, a clear allusion to the redemption of the original sin. On the other side, a second angel plays a viola of arc. The composition derives from a model by Rogier van der Weyden a

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 Engraver Bernardo Rico
Oil on canvas. Ca. 1870
Madrazo y Garreta, Raimundo de
The Engraver Bernardo Rico
Oil on canvas. Ca. 1870
Madrazo y Garreta, Raimundo de

This painting and its dedication demonstrate the friendship between Raimundo de Madrazo and Bernardo Rico (1825-1894), a leading wood engraver and the brother of the painter Martín Rico. The controlled, precise brushstroke on the face contrasts with the looser and more fluid handling of the background.

Portrait of a Gentleman
Oil on canvas. Ca. 1870
Ferrant, Alejandro
Portrait of a Gentleman
Oil on canvas. Ca. 1870
Ferrant, Alejandro

Holding his spectacles in his right hand, the subject of this portrait gazes at the viewer. He has momentarily left the composition he is working on, which is dated 1844 and is partially legible. It is precisely this element that enabled the subject to be identified as Urbano Aspa (C. Díaz Pascual 2015), a composer of religious music who was also a close friend of the painter’s family. In t

Ventura de la Vega
Oil on canvas. 1849
Madrazo y Kuntz, Federico de
Ventura de la Vega
Oil on canvas. 1849
Madrazo y Kuntz, Federico de

The writer Ventura de la Vega (1807-1865), a leading light in Madrid’s literary and artistic circles, was a close friend of the painter. In this portrait, whilst conveying the sitter’s unstudied elegance, Madrazo particularly sought to capture his character and his intensely expressive gaze.

The Infanta Paz de Borbón
Oil on canvas. 1894
Lenbach, Franz-Seraph Von
The Infanta Paz de Borbón
Oil on canvas. 1894
Lenbach, Franz-Seraph Von

Herself noted as a painter, Alfonso XII’s sister was a leading patron of the arts, especially after marrying to Prince Ludwig Ferdinand of Bavaria and taking up residence in Munich. The city’s artistic activity was dominated for several decades by Lenbach, William II’s court portraitist, who was granted a noble title for his outstanding achievements. In this portrait, the painter blends historical

The Head of Saint John the Baptist
Oil on panel. XVI century
Solari, Andrea (Copy)
The Head of Saint John the Baptist
Oil on panel. XVI century
Solari, Andrea (Copy)

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