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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
Concepción Remisa de Moret was the wife of Segismundo Moret y Quintana, a famous nineteenth-century Spanish writer, politician and landowner whose portrait -also by Madrazo- is in the Prado Museum collection as well (P04466). The purity of lines and delicate rendering of this work reveal the influence that the French painter, Jean Auguste Dominique Ingres (1780-1867), had on Federico de Mad
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).
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
Pinazo, an artist obsessed with his own image, painted numerous self-portraits, some showing him with a hat. In these works, he rendered his expressive facial features with naturalist exactitude against very sober backgrounds. The gaze of the eye in the lighted half of the face here reflects his efforts to capture the image directly and precisely, something his ample brushwork accomplishes with as
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
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
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.
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 that their social status demanded. In addition to his remarkable artistic ability, his female portraits are outstanding for their depiction of the accessories and adornments. These details are emphasis
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
As on many other occasions, the painter´s sons are his model for this work. In a barely-furnished room, the two brothers have fun together. José, the elder, leans on the table, drawing, while Ignacio fondly rests his hand on his older brother´s back, observing the progress. This scene is an example of the sort of intimate and familiar painting this artist made throughout his life. Of partic
Tiene también como título Orillas del Manzanares. Madrid.
These two miniatures belong to a series of seven on copper, unique in Goya’s oeuvre. They depict the artist’s son Javier and Javier’s in-laws on the occasion of his marriage to Gumersinda, daughter of the haberdashers Miguel Martín de Goicoechea and Juana Galarza. Juana is depicted here, together with Manuela, another of their daughters, in profile.
Madrid´s massive mountain range, the Sierra Madrileña, is depicted by Beruete from the outskirts of Madrid. This natural element was the painter´s favorite for his mountain landscapes. The work shows how this natural space was reclaimed as an axis for the regenerationalist politics that filled public life at the turn of the ninteenth to twentieth centuries. Understood as “the backbone of Sp
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
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