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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.

Self-portrait with a Hat
Oil on canvas. 1901
Pinazo Camarlench, Ignacio
Self-portrait with a Hat
Oil on canvas. 1901
Pinazo Camarlench, Ignacio

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

Ignacio, the Artist's Son
Oil on canvas. 1885
Pinazo Camarlench, Ignacio
Ignacio, the Artist's Son
Oil on canvas. 1885
Pinazo Camarlench, Ignacio

Pinazo’s fascination with childhood led him to paint several pictures of his two children, in which he captured the freshness and spontaneity of the child’s world. Here, his son Ignacio, the artist’s favourite model, who would later become a sculptor.

View of Zaragoza
Oil on canvas. 1647
Martínez del Mazo, Juan Bautista
View of Zaragoza
Oil on canvas. 1647
Martínez del Mazo, Juan Bautista

The view is from the riverbank opposite the city, where several groups of people are spread out, enlivening the composition. In the background one can see Saragossa´s main buildings and Felipe IV entering the city. The work was commissioned by Prince Baltasar Carlos, who indicated the exact viewpoint from which it was to be painted, and the artist used it as an opportunity to recreate a magnificen

Apostle’s Head
Oil on canvas. 1619 - 1620
Velázquez, Diego Rodríguez de Silva y
Apostle’s Head
Oil on canvas. 1619 - 1620
Velázquez, Diego Rodríguez de Silva y

Ever since this work was addressed by Velázquez’s bibliography, it has been considered a fragment from a larger painting that was part of an apostolate. That group would have included the apostle Saint Thomas at the Musée d’Orléans and the Saint Paul in Barcelona, whose styles suggest they date from 1619-20, during the first years of the artist’s career. While it has been sugg

Portrait of a Gentleman from the Van Beijeren van Schagen Family (Johan van Beijeren van Schagen?)
Oil on canvas. 1610 - 1615
Mierevelt, Michiel Jansz. Van
Portrait of a Gentleman from the Van Beijeren van Schagen Family (Johan van Beijeren van Schagen?)
Oil on canvas. 1610 - 1615
Mierevelt, Michiel Jansz. Van

Like the Portrait of a Lady of the Van Beijeren van Schagen Family (P2976), this portrait is a representative example of Mierevelt`s work in this genre. The support is also constructed in the same way, and is typical of this artist`s portraits.In the Baron van Aerssen Beijeren collection the picture is listed as a portrait of Willem van Beijeren van Schagen (1517-1548) and as pendant to the Portra

Portrait of a Lady of the Van Beijeren van Schagen Family (Theodora van Duvenvoorde?)
Oil on canvas. 1620
Mierevelt, Michiel Jansz. Van
Portrait of a Lady of the Van Beijeren van Schagen Family (Theodora van Duvenvoorde?)
Oil on canvas. 1620
Mierevelt, Michiel Jansz. Van

This painting belongs to the type of representative portrait developed by Mierevelt -restrained, highly detailed compositions focused on carefully reproducing faces and the garments that denote the sitters` social status. Analysis of the micro-samples taken from the background shows that the pigments were applied over a reddish grey-brown imprimatura layer. As is characteristic of Mierevelt’s port

Gypsy Family, Palencia
Oil on canvas. 1925
Echevarría Zuricalday, Juan de
Gypsy Family, Palencia
Oil on canvas. 1925
Echevarría Zuricalday, Juan de

Echevarría was inspired by the rural heritage of Spain’s gypsy people in the early decades of the 20th century, finding alternative themes and subjects to those of the urban, bourgeois culture inherited from the 19th century. Executed in a geometrical idiom with bright, random colours, this canvas reveals the artist’s complete assimilation of the European Post-impressionist models which he

My Godmother
Oil on canvas. Ca. 1912
Huidobro Laplana, Luis
My Godmother
Oil on canvas. Ca. 1912
Huidobro Laplana, Luis

Wearing a brownish-green shawl, the sitter looks at the viewer with a serious expression as she opens a fan and raises her skirt to continue her walk across the fields by the Manzanares. In the background, the Royal Palace appears as a blur. Half-way between the portrait and the costumbrista painting of typical Madrid characters, the work belongs to the conservative trend that defended local pride

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

The Haywain Triptych
Oil on panel. 1512 - 1515
Bosch, Hieronymus
The Haywain Triptych
Oil on panel. 1512 - 1515
Bosch, Hieronymus

Bosch thus shows how man, irrespective of his social class or place of origin, is so possessed by the desire to enjoy and acquire material possessions that he allows himself to be deceived or seduced by the Devil. Thus the artist proposes that we should renounce earthly goods and the delights of the senses in order to avoid eternal damnation. The painting offers an exemplum of a different type to

Landscape with Saint Paul the Hermit
Oil on canvas. 1637 - 1638
Poussin, Nicolas
Landscape with Saint Paul the Hermit
Oil on canvas. 1637 - 1638
Poussin, Nicolas

Nicolas Poussin has a curious relation to the Buen Retiro Palace. Úbea considers him the determinant artist among all those who took part in its decorative project. That could explain why he was the only one to participate in the two most important sets of works commissioned in Italy: the landscapes, and the history of ancient Rome. At the very least, he painted the present work for the fir

Two Old Men
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de
Two Old Men
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de

The mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter. The private and intimate character of that house allowed the artist to express himself with great liberty. He painted directly on the walls in what must

Elinor Glyn
Oil on cardboard. 1914
Laszlo de Lombos, Philip Alexius de
Elinor Glyn
Oil on cardboard. 1914
Laszlo de Lombos, Philip Alexius de

Elinor Glyn (Jersey,1864-London,1943) was a celebrated British novelist and screenwriter, a businesswoman and a society columnist whose work popularised the concept of the “it-girl”. This oil sketch of her head, adorned with sapphire jewels, is a preparatory study for a portrait (private collection) in which she is shown dressed in a sumptuous blue gown and holding a book.

Plaza Mayor de Segovia
Oil on cardboard. Ca. 1909
Cottet, Charles
Plaza Mayor de Segovia
Oil on cardboard. Ca. 1909
Cottet, Charles

Asunción Castro Crespo, wife of the painter
Oil on canvas. 1914
Simonet Lombardo, Enrique
Asunción Castro Crespo, wife of the painter
Oil on canvas. 1914
Simonet Lombardo, Enrique

En los primeros meses de 1914, cuando su esposa estaba embarazada de su hijo Bernardo, que nació el 20 de marzo en Madrid, el pintor realizó este retrato que la representa con mantilla. Seguía con ello una moda habitual en los retratos femeninos desde el siglo XIX, que se hizo muy frecuente en las primeras décadas del XX. El pintor recurrió a menudo a su esposa para que le sirviera de modelo, como

Saint James the Pilgrim
Oil on panel. 1455 - 1465
Baró, Bartomeu
Saint James the Pilgrim
Oil on panel. 1455 - 1465
Baró, Bartomeu

The image of the titular saint seated on a richly decorated Gothic throne was the central effigy of many Spanish late mediaeval altarpieces. Here we see a hieratic Saint James with his pilgrim’s attributes enthroned on a monumental cathedra in grisaille, adorned with lively marginalia. Kneeling at his feet, the figure of the donor may evoke a desire to go on a pilgrimage to Compostela or simply de

The Pilgrimage to San Isidro
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de
The Pilgrimage to San Isidro
Mixed method on mural transferred to canvas. 1820 - 1823
Goya y Lucientes, Francisco de

The mural paintings that decorated the house known as “la Quinta del Sordo,” where Goya lived have come to be known as the Black Paintings, because he used so many dark pigments and blacks in them, and also because of their somber subject matter. The private and intimate character of that house allowed the artist to express himself with great liberty. He painted directly on the walls in what must

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