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Torre Sola. Montornès
Oil on canvas. 1914 - 1921
Mir y Trinxet, Joaquín
Torre Sola. Montornès
Oil on canvas. 1914 - 1921
Mir y Trinxet, Joaquín

This landscape was painted on the outskirts of Montornès del Vallès, a village in the Vallès Oriental (Barcelona) where Mir lived between 1913 and 1921. Based on his direct observation of nature, the artist offers a very personal interpretation of its rich colours and light, conveyed through a notably broad, free brushstroke.

Landscape, El Pardo
Oil on cardboard on panel. 1910 - 1911
Beruete, Aureliano de
Landscape, El Pardo
Oil on cardboard on panel. 1910 - 1911
Beruete, Aureliano de

Female Nude
Oil on canvas. 1902
Pinazo Camarlench, Ignacio
Female Nude
Oil on canvas. 1902
Pinazo Camarlench, Ignacio

The nude young woman sits on a white cloth with which she covers her lap. The artist paints her in profile and avoids showing her face. This is one of many nude studies made by this artist, and it may well be the most lauded of them all. Several of its characteristic aspects have been praised for their exquisite mastery, including the rich palette —especially the greens, which vary rhythmically— t

Landscape
Oil on canvas. Ca. 1910
Beruete, Aureliano de
Landscape
Oil on canvas. Ca. 1910
Beruete, Aureliano de

Federico Flórez y Márquez
Oil on canvas. 1842
Madrazo y Kuntz, Federico de
Federico Flórez y Márquez
Oil on canvas. 1842
Madrazo y Kuntz, Federico de

A full-length portrait of Federico Flórez as a boy, wearing the uniform of the School of Noble Students of Madrid. This work is especially significant in Madrazo´s oeuvre, as it is one of the few examples of a portrait in a landscape. The evocation of Velasquez´s world is combined with the approach of European Romanticism, including a sensationalist lighting that envelops the figure in a cr

Juana Galarza de Goicoechea
Oil on copperplate. 1805
Goya y Lucientes, Francisco de
Juana Galarza de Goicoechea
Oil on copperplate. 1805
Goya y Lucientes, Francisco de

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.

The Guadarrama from the Plantío de los Infantes
Oil on canvas. 1910
Beruete, Aureliano de
The Guadarrama from the Plantío de los Infantes
Oil on canvas. 1910
Beruete, Aureliano de

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

The Prudent Abigail
Oil on canvas. 1696 - 1697
Giordano, Luca
The Prudent Abigail
Oil on canvas. 1696 - 1697
Giordano, Luca

David se hallaba con sus hombres en la montaña y envió al sanguinario Nabal un destacamento para pedirle comida. Ante su negativa, David ordenó a su ejército destruir su casa. Abigail, esposa de Nabal, cargo varios asnos con vituallas y se postro ante David para solicitar su clemencia (Samuel I, 25: 2-42). La presente pintura suscita numerosos interrogantes relativos a su destino en los palacios r

The wall of El Pardo
Oil on canvas. 1911
Beruete, Aureliano de
The wall of El Pardo
Oil on canvas. 1911
Beruete, Aureliano de

Though it had been painted by many landscape artists since the middle of the nineteenth century, Aureliano de Beruete made the Sierra de Guadarrama mountain range his primary subject, from the beginning of his career to the end. For him, these mountains north of Madrid represented the backbone of Spain, structuring the two central regions that flank it to the north and south: the tablelands of Old

Self-portrait
Oil on canvas. 1899
Díaz Molina, José
Self-portrait
Oil on canvas. 1899
Díaz Molina, José

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

Ella J. Seligmann
Oil on canvas. 1913
Sorolla y Bastida, Joaquín
Ella J. Seligmann
Oil on canvas. 1913
Sorolla y Bastida, Joaquín

During his trip to Paris in the autumn of 1913 Sorolla painted the wife of Jacques Seligmann, a leading art dealer of German origin, emphasising her beauty and elegance through the use of a restrained background painted with very loose brushstrokes. Impasto is reserved for the brightest areas such as the flesh tones and the sumptuous white shawl.

The Game of Horse and Rider
Oil on canvas. 1791 - 1792
Goya y Lucientes, Francisco de
The Game of Horse and Rider
Oil on canvas. 1791 - 1792
Goya y Lucientes, Francisco de

Five boys play at riding on each other´s shoulders in the game called “Chicken Fights” or “Horse and Rider” in a setting of hills and woods. This work is one of the cartoons for a series of gay, playful tapestries intended for the bedrooms of the infantas —the daughters of the future Carlos IV (1748-1819) and María Luisa de Parma (1751-1788)— at the El Pardo Palace in Madrid. Goya rec

Ferdinand VI and Barbara of Braganza in the Gardens of Aranjuez
Oil on canvas. 1756
Battaglioli, Francesco
Ferdinand VI and Barbara of Braganza in the Gardens of Aranjuez
Oil on canvas. 1756
Battaglioli, Francesco

This view of Aranjuez Palace was painted in 1756, on the occasion of the celebration of the saint´s day of King Fernando VI (1713-1759). This work was one of a group of views of the Palace and of the celebrations that took place there. Originally, there were probably four, but only this one and View of Aranjuez Palace (P04180, also in the Prado Museum) remain. The moment depicted here is the passa

View of The Palace of Aranjuez
Oil on canvas. 1756
Battaglioli, Francesco
View of The Palace of Aranjuez
Oil on canvas. 1756
Battaglioli, Francesco

This view of Aranjuez Palace was painted in 1756, on the occasion of the celebration of the saint´s day of King Fernando VI (1713-1759). This work was one of a group of views of the Palace and of the celebrations that took place there. Originally, there were probably four, but only this one and Fernando VI and Bárbara de Braganza in the Gardens of Aranjuez (P04181, also in the Prado Museum)

Christ Blessing
Mixed method on panel. 1494 - 1496
Gallego, Fernando
Christ Blessing
Mixed method on panel. 1494 - 1496
Gallego, Fernando

On his throne, wearing a red tunic and holding the globe of the World in his left hand, Christ offers his blessing with his right. He is flanked by figures representing the Church and the Synagogue and surrounded by the Tetramorph. Christ is presented as the Savior of the world in this work that contrasts the figure of the Synagogue, with Moses’s tablets and a torn banner; and the figure of the Ch

Bellas Vistas District (Madrid)
Oil on canvas. 1906
Beruete, Aureliano de
Bellas Vistas District (Madrid)
Oil on canvas. 1906
Beruete, Aureliano de

Aureliano de Beruete was the most prominent landscape artist of his generation. He would select the settings for his paintings with great care and often featured the Sierra de Guadarrama, which was the subject of numerous works by him, including The wall of El Pardo (P4243). He likewise paid significant attention to capturing what was characteristic of the deep historical roots of the old cities o

Ventura de la Vega
Oil on canvas. 1849
Madrazo y Kuntz, Federico de
Ventura de la Vega
Oil on canvas. 1849
Madrazo y Kuntz, Federico de

The writer Ventura de la Vega (1807-1865), a leading light in Madrid’s literary and artistic circles, was a close friend of the painter. In this portrait, whilst conveying the sitter’s unstudied elegance, Madrazo particularly sought to capture his character and his intensely expressive gaze.

Autumn in the Forest
Oil. Ca. 1918
Ménard, Marie-Auguste-Émile René
Autumn in the Forest
Oil. Ca. 1918
Ménard, Marie-Auguste-Émile René

A member of the so-called Bande noire, a group that was founded in conscious opposition to Impressionism and influenced Zuloaga, Ménard specialised in crepuscular Symbolist landscapes with figures associated with Greco-Latin mythology. In this example he includes a naked youth and some cattle beneath autumnal trees, possibly in reference to a pastoral tale.

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