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This is the moment in Christ´s Passion, as told in the New Testament, when the Roman Soldiers nail his body to the Cross. In the middle ground, Saint John the Evangelist indicates the scene to the Virgin, who falls to the ground in sorrow. The importance of the strong and strikingly contrasted colors in this composition, defines Campi´s style. The artist steeped his religious compositi
Although this painting bears a curious apocryphal signature in large letters at the lower left corner of the canvas, Pérez Sanchez (1983) attributed it to Victoria in 1983 on the basis of its Valencian provenance and that clergyman’s (he was a canon) reputation for making works of this sort. But, while other collections have similar pieces, this attribution raises doubts that may eventually
Painted in Paris, this is Casado del Alisal’s first known female portrait and one of his works that best summarises the importance of French models, which were in turn influenced by Velázquez. A characteristically Spanish restraint, conveyed by the plain background and dark tonality, contrasts with the figure’s spontaneity and smile, which are more typical of French portraiture. The result
Large-format versions of the Virgin holding the dead body of Christ, like those at Badajoz Cathedral and at the Real Academia de Bellas Artes de San Fernando, gave way in Morales’s oeuvre to smaller compositions on the same subject, with half-length figures shown on a striking background of rigorous black. Against this, the two figures and the upright of the cross are contrasted with strong lighti
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 dimensions, format, theme, support and pictorial style of these three works -The Crucifixion (P8211), Lamentation over the Dead Christ (Museo de Salamanca, CE 106) and The Resurrection (P8212)- all point towards a common provenance, an altarpiece with traditional subject matter linked to the Christological cycle, with special emphasis on the episodes related to the Passion, the death of Christ
Since Gustave Courbet, realist painters had been interested in the representation of clairvoyants and mediums, associated by art with feminine practices. Set inside a dark room, Benlliure’s work is a markedly tellurist image offering a visual connection between the supposed paranormal gifts of the protagonist and the world of the irrational, which in the early twentieth century was linked essentia
En la producción de Fillol es sobre todo conocida su vertiente costumbrista y regionalista, que nos ha legado una amplia y multitudinaria galería de tipos, costumbres y escenas folklóricas. En estas visiones avanza desde el naturalismo inicial hasta un arte más decorativo y a veces caracterizador.Este autorretrato debió de ser efectuado hacia 1915, cuando el pintor tenía cuarenta y cinco años, de
A view of the rocky cliffs of Aiguablava, painted from nature and probably over the course of numerous sessions. Gimeno executed this powerfully expressive work during the period he spent painting landscapes around Begur on the Costa Brava, particularly in Fornells, in the summer of 1917. This was one of the artist’s most mature, productive periods in which his simultaneously energetic and lyrical
The dimensions, format, theme, support and pictorial style of these three works -The Crucifixion (P8211), Lamentation over the Dead Christ (Museo de Salamanca, CE 106) and The Resurrection (P8212)- all point towards a common provenance, an altarpiece with traditional subject matter linked to the Christological cycle, with special emphasis on the episodes related to the Passion, the death of Christ
Se representa a Dolores de Pedroso y Sturdza (+1986). Hija del matrimonio (1907) de Luis de Pedroso y Madan, diplomático, ministro plenipotenciario, y de la princesa rumana María Sturdza. Fue la VI condesa de San Esteban de Cañongo al suceder a su padre en 1953.
This Charity, one of the most important works by the Tuscan painter Portelli, derives from a work on the same subject by Francesco Salviati (1510-1563) now in the Uffizi, Florence, emulating its composition, brilliant colours and detailed finish. It was acquired by Charles IV.
In the bay of a Renaissance cloister, Mary is seated on a throne with her Son on her lap. On the left is Saint Benedict and on the right, Saint Bernard, patrons of the Order of Montesa. The latter protects the donor, a knight of this military order, probably Luis Despuig, Grand Master between 1472 and 1482 and Viceroy of Valencia between 1472 and 1478. The painter, who was Italian from Emilia and
La retratada es María de las Mercedes de Alcázar y Nero Vera de Aragón (fallecida en Madrid, 1916). Casó con Juan Pérez del Pulgar, teniente coronel del Estado Mayor.
Desolation and defeat, yearning and loneliness are all conveyed through the sensual female nude that seems to emerge softly from the block of marble. The girl’s face is not shown and remains hidden beneath her long hair. Grief is a key example of modernista funerary sculpture and there are obvious links with the work of Auguste Rodin (1840-1917).
Cabeza de bronce de Piotr Ilich Chaikovski, sobre peana de mármol, que se inspira en la máscara funeraria del músico ruso. Lleva la dedicatoria "Al. Dr. D. Ruperto / Sánchez Arcas con / admiración y afecto / Carlos Velázquez / 1962". Esta obra es un regalo que el artista hizo al padre de la legataria, el ginecólogo Ruperto Sánchez Arcas, quien atendió en 1962 el parto del hijo del escultor, al que
The Marquess of Salamanca sold Venus and Mars by Antonio Canova (1757-1822) to the Museo del Prado in 1881. At the time of acquisition, its attribution had been maintained for decades, but when Pavanello was cataloguing all of Canova’s work in 1976, he considered it a copy. While focusing on Canova’s workshop, Reyero thought the piece could have been made in the 1820s by someone in Canova’s inner
Tras diversas iniciativas para dedicar un monumento al presidente de la Primera República Francisco Pi y Margall (1824-1901), el 29 de abril de 1917 se colocó, como inicio de las obras, el busto del político en el lugar donde debía erigirse el monumento. Fue promovido por una Comisión que organizó ese año una suscripción popular para poder financiar el proyecto que había encargado en 1915 a Miguel
