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Hollyhocks
Oil on canvas. 1872 - 1873
Fortuny, Mariano
Hollyhocks
Oil on canvas. 1872 - 1873
Fortuny, Mariano

Fortuny enjoyed painting flowers in bloom in his scenes. Attracted by their colours, he also made separate studies of them. His favourites were hollyhocks on account of their pleasing hues and the elegant verticality of their stalks, which is accentuated by the format used here. As the background is devoid of references, their corollas appear to float in an indeterminate space, with varying degree

Nude Boy on the Beach at Portici
Oil on panel. 1874
Fortuny, Mariano
Nude Boy on the Beach at Portici
Oil on panel. 1874
Fortuny, Mariano

Fantasy on Faust
Oil on canvas. 1866
Fortuny, Mariano
Fantasy on Faust
Oil on canvas. 1866
Fortuny, Mariano

In this work, Fortuny establishes an eloquent link between painting and music and a clear exposition of what his friend, the Baron Davillier, called his very lively and very pure taste in music. Fortuny depicts one of the musical evenings that he attended in Madrid during the summer of 1866 at his friend and former classmate, Catalan painter Francisco Sans y Cabot’s studio at no. 13, calle Flor Ba

Nude Old Man in the Sun
Oil on canvas. Ca. 1871
Fortuny, Mariano
Nude Old Man in the Sun
Oil on canvas. Ca. 1871
Fortuny, Mariano

This work is an excellent example of the way in which an interest in the art of Spain´s Golden Age combines in Mariano Fortuny´s paintings with the close study of subjects made from life. Nude Old Man in the Sun reveals Fortuny´s familiarity with the work of Jusepe de Ribera, whose painting Saint Andrew (P1078) he had copied on a previous occasion. And as in that copy and others Fortuny made (such

Morocans
Oil on panel. 1872 - 1874
Fortuny, Mariano
Morocans
Oil on panel. 1872 - 1874
Fortuny, Mariano

Fortuny’s predilection for beautifully colored and very carefully painted panels is perfectly exemplified by the present work, which reveals his mastery of tableautin, a type of painting that garnered considerable commercial success for artists such as Jean-Louis-Ernest Meissonier (1815-1891), although the latter’s execution was much more meticulous and drawn. The Orientalist genre was also the ob

The Garden of the Fortuny Residence
Oil on panel. 1872 - 1877
Fortuny, Mariano; Madrazo y Garreta, Raimundo de
The Garden of the Fortuny Residence
Oil on panel. 1872 - 1877
Fortuny, Mariano; Madrazo y Garreta, Raimundo de

This work bears exceptional witness to the concurrence of Fortuny’s painting with that of his close friend, Raimundo de Madrazo. Begun by the former, it was completed after his death by the latter with a completely concordant style that does not, however, hide Madrazo’s own individuality. Fortuny had been living in Granada since the summer of 1870 and he spent the best days of his life there befor

Idyll
Watercolour, Gouache / tempera on paper. 1868
Fortuny, Mariano
Idyll
Watercolour, Gouache / tempera on paper. 1868
Fortuny, Mariano

This watercolor offers a profile view -similar to a low relief- of a child or young faun sitting on a fragment of an Ionic entablature with egg-and-dart decorations above an astragal. The slender, nude child recalls the Italian boys who worked as models in academies and were depicted by European painters and sculptors. At the academies where he studied, Fortuny had drawn numerous nude boys, some p

Lanscape at Portici
Watercolour, Gouache / tempera on paper. 1874
Fortuny, Mariano
Lanscape at Portici
Watercolour, Gouache / tempera on paper. 1874
Fortuny, Mariano

In the summer of 1874 Fortuny settled in a seaside villa in Portici, near Naples, where he painted several landscapes and seascapes that show his interest in the study of painting from life. This interest is clear in this view of the surrounding area of his house, in which the arrangement of clouds in motion suggests the instability of the changing atmosphere of that place.

Menippus, detail (copy after Velázquez)
Watercolour, Gouache / tempera on paper. 1866 - 1868
Fortuny, Mariano
Menippus, detail (copy after Velázquez)
Watercolour, Gouache / tempera on paper. 1866 - 1868
Fortuny, Mariano

Fortuny made an ample number of copies of famous paintings, some as late as the end of the 1860s. They reveal his interest in deepening his knowledge of the painting of the great masters, especially Velázquez and Goya, and to a lesser extent, Raphael, Dürer, Tintoretto, El Greco, Ribera, Rubens, Van Dyck and Tiepolo, as well as Rembrandt and the Japanese engravers, all of whom had a fu

A Moroccan
Watercolour on paper. 1869
Fortuny, Mariano
A Moroccan
Watercolour on paper. 1869
Fortuny, Mariano

This work is a typical example of the watercolours Fortuny produced in his Roman studio during winter and early spring afternoons and evenings. In them he painted Arab subjects based on free interpretations of European models. The simple composition featuring a figure against a wall, whose material properties are painstakingly depicted, the solid and lifelike anatomical rendering, and the refineme

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