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Mariquiña de Valle-Inclán
Oil on canvas. Ca. 1928
Echevarría Zuricalday, Juan de
Mariquiña de Valle-Inclán
Oil on canvas. Ca. 1928
Echevarría Zuricalday, Juan de

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

Doctor Francisco Rodríguez de Sandoval
Oil on canvas. 1906
Sorolla y Bastida, Joaquín
Doctor Francisco Rodríguez de Sandoval
Oil on canvas. 1906
Sorolla y Bastida, Joaquín

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

Juan de Austria's Presentation to Emperor Charles V in Yuste
Oil on canvas. 1869
Rosales Gallinas, Eduardo
Juan de Austria's Presentation to Emperor Charles V in Yuste
Oil on canvas. 1869
Rosales Gallinas, Eduardo

Boys on the Beach
Oil on canvas. 1909
Sorolla y Bastida, Joaquín
Boys on the Beach
Oil on canvas. 1909
Sorolla y Bastida, Joaquín

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

Indian Dancers
Oil on canvas. Ca. 1924
Chicharro y Agüera, Eduardo
Indian Dancers
Oil on canvas. Ca. 1924
Chicharro y Agüera, Eduardo

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.

The Rebel
Oil on canvas. Ca. 1914
Fillol Granell, Antonio
The Rebel
Oil on canvas. Ca. 1914
Fillol Granell, Antonio

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

Self-portrait
Oil on canvas. 1918
Bonnat, Léon-Joseph
Self-portrait
Oil on canvas. 1918
Bonnat, Léon-Joseph

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

Self-portrait
Oil on canvas. 1866
Casanova Ruiz, Lorenzo
Self-portrait
Oil on canvas. 1866
Casanova Ruiz, Lorenzo

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

A Rest during the Hunt
Oil on panel. 1901
Domingo Marqués, Francisco
A Rest during the Hunt
Oil on panel. 1901
Domingo Marqués, Francisco

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

The Virgin of the Knight of Montesa
Oil on panel. 1472 - 1476
San Leocadio, Paolo Da
The Virgin of the Knight of Montesa
Oil on panel. 1472 - 1476
San Leocadio, Paolo Da

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

Severity is not always good
Indian ink, Wash on dark yellow laid paper. 1816 - 1820
Goya y Lucientes, Francisco de
Severity is not always good
Indian ink, Wash on dark yellow laid paper. 1816 - 1820
Goya y Lucientes, Francisco de

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

Who will win?
Indian ink, Wash on dark yellow laid paper. 1816 - 1820
Goya y Lucientes, Francisco de
Who will win?
Indian ink, Wash on dark yellow laid paper. 1816 - 1820
Goya y Lucientes, Francisco de

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

Miguelito
Marble. 1919
Blay y Fábrega, Miguel
Miguelito
Marble. 1919
Blay y Fábrega, Miguel

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

Sacred Heart
Plaster. 1898 - 1901
Samsó, Juan
Sacred Heart
Plaster. 1898 - 1901
Samsó, Juan

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

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