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En una composición horizontal, favorecida por el propio formato del soporte, se plasma una llanura con un desnivel en el centro del terreno en el que junto a un bosque de palmeras se alza un aljibe para el riego de los cercanos frutales que se insinúan a la derecha. Entre este palmeral sobresalen cinco ejemplares que con sus altos tronco enlazan y funden las dos franjas horizontales en que está cl
This view of the so-called Eagle’s Castle in Gaucín (Malaga), with the valley of the Genal River and the Plain of Gibraltar in the background, is similar to an earlier view by Villaamil’s master, the Scottish artist David Roberts (1796-1864). The touches of evening light emphasise this monumental vision of the mountains of Ronda, interpreted with a picturesque and evocative grandeur charact
Rico painted the Guadarrama Mountains years before the railway made it accessible to artists. That is clear in some watercolours and this oil painted at the León Pass, which he sent to the National Exhibition of 1858. The decreasing succession of trees and mountains is a device typical of Romantic painting, but Rico’s interest in depicting the types of moss and grass reflect a clearly reali
A domestic scene set in classical antiquity. An old man and a youth recline on divans while an attractive young woman plays music on a double flute. Both the clothing and the setting suggest the Greek world, and the motives and clothing are rigorously faithful to archeological discoveries made in the mid nineteenth century. Despite being Dutch by birth, Sir Lawrence Alma cultivated an eclectic per
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 montículo rocoso que cae en declive en el mar. Gran porción de cielo con nubes muy movidas (Texto extractado de: Gutiérrez Márquez, A.; Carlos de Haes en el Museo del Prado 1826-1898, Madrid: Museo Nacion
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
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 marea. Una franja de mar y una gran porción de cielo muy cubierto de nubes turbulentas (Texto extractado de: Gutiérrez Márquez, A.; Carlos de Haes en el Museo del Prado 1826-1898, Madrid: Museo Nacio
This painting was presented at the National Exhibition of Fine Arts in 1866. It depicts the Great Captain´s encounter with the body of his adversary after the famous battle for the control of the Kingdom of Naples, which was fought during the reign of the Catholic Kings. The page, who still holds the body of his dead lord, directs an imploring gaze at the Spanish hero. The painter clearly captures
The painting belongs to the type of still life designated by Vroom as monochrome banketjes, pieces first executed by Heda towards the end of the 1620s that became very popular in the Netherlands and abroad, as illustrated by the fact that there were two in the inventory of Rubens´s property. There are sufficient grounds to interpret these compositions as moralising, religious or allegorical works.
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
Dying of love is a theme often drawn from legendary literature, and was recurrent in nineteenth-century Spanish painting. Beginning with the story Juan Yagüe found in the Archives of the Moot Halls of Teruel, Degrain depicts the impossible love between Isabel Segura and the empoverished nobleman, Diego de Marsilla, which occurred in 1212. The painter chooses the tragic outcome of the two love
Esta escena bíblica, perteneciente al Nuevo Testamento, refleja una anécdota de la juventud de Cristo, cuando estuvo disputando por cuestiones religiosas con los doctores judíos de la ley Mosaica, en el interior del Templo de Jerusalén. Forma pareja con Jesús arroja a los mercaderes del Templo (P00278), y ambos fueron comprados por Carlos IV. Destacan los grandiosos ámbitos arquitectónicos, así co
In the last quarter of the nineteenth century, a significant number of Spanish writers and artists viewed themselves as heirs to the rich heritage of the Golden Age realist tradition, particularly the work of Miguel de Cervantes and Diego Velázquez. Their interpretation and imitation of those models lent nineteenth-century Spanish naturalism its particular character within the larger contex
The finest work of all Gisbert’s production, this impressive painting is also unarguably one of the most beautiful of all 19th-century Spanish history paintings. Moreover, it is one of the greatest political manifestos of all Spanish painting in defense of human freedom crushed by authoritarianism and one of the very few cases in which a clear propagandistic message was directly inspired by govern
A group of people surround a standing man who gesticulates, appearing to tell a story. Alenza painted numerous small-format scenes of customs depicting the least-advantaged social classes. As in this work, they reveal the influence of Goya, and of works in the Prado by David Teniers (1610 - 1690).
The Virgin and Saint John are depicted on a sailboat, crossing tranquil seas on their way to Ephesis. The somber and distracted expressions on both their faces indicate they are lost in thought. The helmsman dozes in the stern, so the boat is guided by angels. This subject is inspired in religious literature concerning the mother off Christ, which tried to cover the episodes following the Savior´s
Universally considered the most emblematic painting of Spanish 19th-century realist landscape, this spectacular panorama of Picos de Europa is also Carlos de Haes absolute masterpiece. He painted it at the height of his career, with the confidence and ease of his most refined style. It is thus the maximum example of the powerful transformation that this great master of Belgian origin effected in l
El artista se ha retratado a los 38 años de edad, de busto corto sobre un fondo neutro, en actitud ensimismada, concentrándose toda la expresión en sus melancólicos y cansados ojos claros, que se dejan ver a través de unos quevedos. Viste chaqueta gris y corbata ancha estampada en tonos azules.Como otros muchos artistas de la época de la Restauración, Díaz Molina se dedicó fundamentalmente al retr
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