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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 fre [+]
In the mid-nineteenth century Federico de Madrazo produced some of the most successful portraits of the Spanish bourgeoisie during the reign of Isabel II (1833-68), presenting them with the opulence t [+]
Este lienzo es una de las obras más significativas de Espinosa en un período especialmente afortunado de su producción, con una notable influencia de Pedro Orrente, tanto en la gama tostada de su colo [+]
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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 [+]
This preparatory sketch for the large-scale canvas painted by Madrazo in Rome (also on display in this room) reveals various differences with respect to the final composition. Madrazo gave more space [+]
This is a modellino for the canvas commissioned by Charles IV during his exile in Rome for the ceiling of a room in the Palazzo di Spagna. The artist and his royal client’s tastes are revealed in the [+]
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 childhoo [+]
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 [+]
María Tomasa Palafox (1780-1835), Marchioness of Villafranca, is shown wearing a white empire-style dress and sitting on a red silk damask armchair, with her feet on a cushion. She is painting [+]
This portrait of María Antonia Gonzaga y Caracciolo (1735-1801), the dowager Marchioness of Villafranca, corresponds to the period in which Goya executed his two portraits of her eldest son, Jo [+]
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 portr [+]
These two paintings (P7607 and P7608) 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 simil [+]
The significance of this work is revealed by the evident contrast between the clothes of the lowly parents and the smart outfit of their granddaughter, possibly born of an illicit love affair involvin [+]
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In the work the corpses of two castaways are represented, the youngest with his chest exposed. Both lie between the nets and tackle that are scattered on the bottom of a boat guided by a sailor in the [+]
Fillol presents an uncompromising image of female prostitution that denounces human exploitation and the personal degradation of the victim. Although critics recognised the painting’s audacity and pra [+]
This is the sketch for the first history painting to be awarded the top prize at the first National Fine Arts Exhibition in 1856, a work (P5726). This piece not only reveals compositional changes duri [+]
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