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This depiction of the fourth daughter of the famous Galician writer Ramón María del Valle-Inclán is a good example of the small-format portraits of close friends that so notably differ from Echevarría’s celebrated portrait gallery of representatives of the Generation of 98. The Gerstenmaier Collection still includes the portrait of Kukuru, Mariquiña’s dog, a canv
The doctor poses in an armchair, crossing his legs and turning to look forward with a lively expression concentrated in his intelligent gaze. He looks about forty years old and wears a gray suit with a vest and gloves of the same color. His brightly lit figure stands out against a neutral gray background that darkens considerably at his back and appears to reflect the light from a gilded frame.Doc
The series of paintings featuring the ‘children in the water’ motif culminates in this work, in which nude boys play a greater part in the composition than in other pictures by Sorolla. While it is signed in 1910 and this chronology has been followed by almost everyone, the artist must have painted it in the summer of 1909, as the image was already reproduced in a book by Rafael Doménech th
Attracted by the mythical image of India, a country he never visited, Chicharro here offers a homoerotic and literary vision of two Hindu ritual dancers at rest. The artist, who was living in Rome at this date, paid close attention to realistic details such as the finger dye and the necklaces and bracelets in a painting in which light and colour are used to suggest sensuality.
Amidst insults and evident signs of mistreatment, a girl is expelled by her family from the camp where she lives. In this composition, which was presented at the National Exhibition of 1915, Fillol alludes with great emotional force both to the violence suffered by women and to the incomprehension of a patriarchal society based on ancestral traditions, here incarnated in the Gypsies, of women’s de
En 1919, Bonnat, pintor ya de gran prestigio en su país, Francia, acompañó al rey de España durante su visita a la Academia francesa, siéndole otorgada la Gran Cruz de Alfonso XII. Es probable que pintara su autorretrato para el Museo de Arte Moderno de Madrid en agradecimiento a esta condecoración. Bonnat empleó en él su prototipo preferido de autorretrato: representado de tres cuartos, con un cl
En este autorretrato de Casanova Ruiz el propósito del artista no es legar su imagen objetiva y perenne a la posteridad, como era frecuente, sino reflejarse en un instante denso y profundo. La pipa humeante habla de ese carácter de instantaneidad. La original perspectiva que el artista establece ante su propia imagen abordándola no directamente de frente sino desde un punto bajo y ladeada hacia la
Francisco Domingo approaches the work of Diego Velasquez (1500-1600) in a free reinterpretation of the human types painted by that artist from Seville. A group of hunters take a rest during a hunt. All of them are dressed in seventeenth-century style. The group of three men at the left of the composition recalls the gentlemen in Velasquez´s works, and the composition of the dark horse held by a hu
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
A boy trying to do his homework buries his face in his hands to protect himself from the threat of an old woman´s whip. The brutality of the punishment is decisively underlined by the authoritative presence of the old woman, with her legs and hands open, her dominant figure contras with the smallness of the child. The almost animal characters of the woman´s face correspond to the irrationality of
This work corresponds to Album E, one of seven albums or series of drawings that Goya created over the course of his life. This album is also known as the “black borders” album, due to the distinctive thick lines that frame each scene. The style, solid compositions and figures, clothing and hairstyles, as well as allusions to the Penninsular War (1808-1814) in some scenes, date the drawings from A
A posthumous portrait that Blay sculpted as a straightforward and intimate memento of his fifth son, Miguel Blay Pichard, Miguelito, who died on April 23, 1918. That is why his parents’ given names appear on the sides. The boy’s life, cut short at the age of seven years, nine months, is symbolized in a sober and unpretentious fashion in low-relief on the front of the pedestal: the broken trunk of
La escayola del Sagrado Corazón de Jesús y su pareja el Sagrado Corazón de María (E1030) fueron los modelos para el encargo de la Reina Regente María Cristina, en 1898, de dos esculturas en mármol de tamaño algo mayor que el natural del Sagrado Corazón de María y del Sagrado Corazón de Jesús, destinadas a la Capilla del Palacio Real de Madrid. Concluidas y entregadas en 1901, todavía hoy se pueden
