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View of the Castle in Gaucín
Oil on canvas. 1849
Pérez Villaamil y Duguet, Genaro
View of the Castle in Gaucín
Oil on canvas. 1849
Pérez Villaamil y Duguet, Genaro

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

The Siesta, or Pompeian Scene
Oil on canvas. 1868
Alma-Tadema, Sir Lawrence
The Siesta, or Pompeian Scene
Oil on canvas. 1868
Alma-Tadema, Sir Lawrence

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

Villerville Seaview
Oil on canvas mounted on cardboard. 1877 - 1884
Haes, Carlos de
Villerville Seaview
Oil on canvas mounted on cardboard. 1877 - 1884
Haes, Carlos de

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

Dunes of Villerville
Oil on canvas mounted on cardboard. 1877 - 1884
Haes, Carlos de
Dunes of Villerville
Oil on canvas mounted on cardboard. 1877 - 1884
Haes, Carlos de

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

The Two Caudillos
Oil on canvas. 1866
Casado del Alisal, José
The Two Caudillos
Oil on canvas. 1866
Casado del Alisal, José

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

Still Life with a silver tazza, a roemer and oysters
Oil on panel. 1632
Heda, Willem Claesz
Still Life with a silver tazza, a roemer and oysters
Oil on panel. 1632
Heda, Willem Claesz

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.

Queen Isabella the Catholic dictating her Will
Oil on canvas. 1864
Rosales Gallinas, Eduardo
Queen Isabella the Catholic dictating her Will
Oil on canvas. 1864
Rosales Gallinas, Eduardo

Rosales depicts the moment when the Catholic Queen dictates her last will and testament at Medina del Campo on 12 October 1504, just days before she died. Isabel stands out in a royal chamber almost in darkness, in a canopy bed, with a medal of the Order of Saint James on her bosom. The white sheets contrast with the muted colors of the other personages. The only note of color is the red robe of a

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

The Lovers of Teruel
Oil on canvas. 1884
Muñoz Degrain, Antonio
The Lovers of Teruel
Oil on canvas. 1884
Muñoz Degrain, Antonio

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

Christ among the Doctors
Oil on canvas. Ca. 1725
Panini, Giovanni Paolo
Christ among the Doctors
Oil on canvas. Ca. 1725
Panini, Giovanni Paolo

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

Sancho Panza recovers his lost donkey
Oil on canvas. Ca. 1894
Moreno Carbonero, José
Sancho Panza recovers his lost donkey
Oil on canvas. Ca. 1894
Moreno Carbonero, José

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

A Wrecked Boat
Oil on canvas. 1883
Haes, Carlos de
A Wrecked Boat
Oil on canvas. 1883
Haes, Carlos de

While Carlos de Haes was the first in Spain to begin plein air painting, he didn´t always paint his landscapes that way. The present work is an example of a studio painting based on sketches made directly on the beach at Saint Jean de Luz. The center of the composition is an image of a destroyed ship that has run aground on the beach, with the immensity of the sea behind it. Images of grounded or

Episode after Trafalgar
Oil on canvas. 1862
Sans Cabot, Francisco
Episode after Trafalgar
Oil on canvas. 1862
Sans Cabot, Francisco

Following the Battle of Trafalgar in 1805, a storm swept the Spanish vessel Neptuno onto the rocks of the Castle of Santa Catalina in Puerto de Santa María, where the surviving crew members took shelter. This canvas, with its unusual subject for a history painting, can be associated with the early years of French Eclecticism, of which Sans Cabot acquired first-hand knowledge in Paris throug

Execution of Torrijos and his Companions on the Beach at Málaga
Oil on canvas. 1888
Gisbert Pérez, Antonio
Execution of Torrijos and his Companions on the Beach at Málaga
Oil on canvas. 1888
Gisbert Pérez, Antonio

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 veteran telling his adventures
Oil on canvas. Ca. 1840
Alenza, Leonardo
A veteran telling his adventures
Oil on canvas. Ca. 1840
Alenza, Leonardo

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).

Douarnenez Steeple
Oil on canvas. 1877 - 1884
Haes, Carlos de
Douarnenez Steeple
Oil on canvas. 1877 - 1884
Haes, Carlos de

These are instantaneous sketches taken directly from nature, here on the coast, in the French countryside, and in the mountains of Picos de Europa. Haes was a moving force in the transformation of landscape painting, bringing a completely new concept of the interpretation of Nature, with a realism that was sensitive to all elements. In all his landscapes, Haes very exactly captures the physical as

Travel of the Blessed Virgin and St. John to Ephesus after the death of Savior
Oil on canvas. 1862
Hernández Amores, Germán
Travel of the Blessed Virgin and St. John to Ephesus after the death of Savior
Oil on canvas. 1862
Hernández Amores, Germán

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

The Mancorbo Pass in Picos de Europa
Oil on canvas. 1876
Haes, Carlos de
The Mancorbo Pass in Picos de Europa
Oil on canvas. 1876
Haes, Carlos de

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

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