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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

Abraham and the three Angels
Oil on panel. Ca. 1640
Bramer, Leonaert
Abraham and the three Angels
Oil on panel. Ca. 1640
Bramer, Leonaert

The date of this painting has been the subject of critical debate for over a century. The 1889 edition of the Prado catalogue states that it was signed but fails to mention a date. The 1910 version describes it as being signed and dated in 1620. The question is not addressed in subsequent publications until that of 1985, which refers to it as being signed and dated in 1630, the year that is again

Hecuba' s Grief
Oil on copperplate. Ca. 1630
Bramer, Leonaert
Hecuba' s Grief
Oil on copperplate. Ca. 1630
Bramer, Leonaert

Both the royal inventories and Stchavinsky (1912) identify this scene as the story of Hecuba, wife of Priam of Troy. Wichmann (1923) disagrees, believing it to be the Finding of the bodies of Hero and Leander, an interpretation supported by Valdivieso (1973), Pigler (1974), Salerno (1977-80) and Sluijter (1986). Luna (1984), however, has called attention to the inscription HECVBA / OVIDIVS./ LIB.

Landscape with Fisherman Family at Dusk
Oil on canvas. 1639 - 1641
Swanevelt, Herman Van
Landscape with Fisherman Family at Dusk
Oil on canvas. 1639 - 1641
Swanevelt, Herman Van

This painting entered the Museum as an original work by Herman van Swanevelt and as companion piece to Landscape with Hermit preaching (P5121), an attribution maintained in all subsequent catalogues and supported by Gerstenberg (1923), Waddingham (1964), Valdivieso (1973), Burke (1976), Barghahn (1986), Galera Mendoza (2001) and Steland (forthcoming). Barghahn misidentifies this landscape as entry

View of Paris from the Trocadero
Oil on canvas. 1883
Rico y Ortega, Martín
View of Paris from the Trocadero
Oil on canvas. 1883
Rico y Ortega, Martín

In 1883 Rico received the most significant commissions of his career: two views of Venice for the Marquis of Casa Riera and this panoramic view of Paris for Josefa de Manzanedo e Intentas, II Marchioness of Manzanedo. One of the wealthiest women of her time, she was a very close friend of Ramón de Errazu, who owned a portrait of her by Jean-Louis-Ernest Meissonier (1815-1891). She had also

José Nicolás de Azara
Oil on panel. 1774
Mengs, Anton Raphael
José Nicolás de Azara
Oil on panel. 1774
Mengs, Anton Raphael

El retrato de Nicolás de Azara, de Anton Rafael Mengs, que conservaban aún los herederos del retratado, es una de las obras más singulares del artista bohemio desde el punto de vista artístico e histórico. La relación de Azara con Mengs se inició probablemente en 1765, ya que al erudito se debió en ese año la iniciativa de la medalla conmemorativa del casamiento de los príncipes de Asturias, con d

The Incredulity of Saint Thomas
Oil on canvas. 1641 - 1649
Stom, Matthias (Also Called Stomer)
The Incredulity of Saint Thomas
Oil on canvas. 1641 - 1649
Stom, Matthias (Also Called Stomer)

The subject of this painting is taken from the Gospels (John 20:24–28). The scene depicts the moment when Thomas, seeking proof of the Resurrection, places his fingers in the wound in Christ’s right side. This work has been ascribed to Matthias Stom’s Sicilian period, when he combined certain northern European stylistic qualities -for example, the accurate folds of the robes and the expressiveness

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.

La boulonnaise
Oil on canvas. 1922 - 1923
Blanchard, María
La boulonnaise
Oil on canvas. 1922 - 1923
Blanchard, María

La pintura representa a una pescadora de la región del Boulonnais en el departamento de Pas-de-Calais. Estas “matelotes o verrotières” eran pescadoras, recogedoras de mariscos, que se ocupaban también del desembarco del pescado. Solían posar orgullosamente con los brazos en jarras, y así pintó María Blanchard a esta. Esta obra muestra el afianzamiento de una pintura basada en la figura tras la eta

Self-portrait
Oil on cardboard. Ca. 1840
Madrazo y Agudo, José de
Self-portrait
Oil on cardboard. Ca. 1840
Madrazo y Agudo, José de

En 1840, José de Madrazo era ya una de las personalidades más relevantes de la vida cultural de la primera mitad del siglo XIX. Ostentaba simultáneamente, a sus cincuenta y nueve años, los cargos de presidente de la Sección de Pintura del Liceo Artístico y Literario de Madrid, director de Pintura de la Academia de San Fernando, director del Real Museo, secretario de la reina gobernadora, académico

Outside my Front Door
Oil on canvas. 1923
Martin, Henri-Jean-Guillaume
Outside my Front Door
Oil on canvas. 1923
Martin, Henri-Jean-Guillaume

In 1910 Martin moved to Marquayrol, his house in Labastide-du-Vert (Lot, France) depicted in this canvas, and it was here that his work matured with respect to the Symbolism characteristic of his early output. He now focused on decorative painting and also on large, luminous and serene landscapes based on the juxtaposition of strokes of pure colour, as in this example.

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.

Vicente Palmaroli
Oil on canvas. 1866 - 1867
Madrazo y Kuntz, Luis de
Vicente Palmaroli
Oil on canvas. 1866 - 1867
Madrazo y Kuntz, Luis de

Retrato de busto, el rostro ofrece amplia y despejada frente, con ojos que trasmiten un aire veladamente burlón, reforzado por esa boca entreabierta que parece iniciar una sonrisa, extenso bigote y perilla que buscan deshacer cierta tendencia a la redondez de los rasgos, y melena corta y amplia a ambos lados de la cabeza. Un rostro afable que se advierte también en el retrato conservado en el Círc

The Carlist Painter and his Family
Oil on canvas. 1869
Domínguez Bécquer, Valeriano
The Carlist Painter and his Family
Oil on canvas. 1869
Domínguez Bécquer, Valeriano

In a space half-way between a private living-room and an artist’s studio, a family adopts a group pose. The well-to-do surroundings of the group, whose identity has yet to be determined, reflect the orderly world of the bourgeoisie, where everyone has their own place. In the centre is the uniformed father, who is painting a battle scene while his wife plays a piece on the piano and his daughters a

Saint John the Baptist with the Lamb
Oil on panel. Ca. 1516
Sarto, Andrea del (Andrea D'agnolo)
Saint John the Baptist with the Lamb
Oil on panel. Ca. 1516
Sarto, Andrea del (Andrea D'agnolo)

There is some controversy about the authorship of this small panel painting, which some historians attribute to Florentine painter Andrea del Sarto and others consider closer to the work of 16th-century Milanese masters influenced by Leonardo Da Vinci. Made with the care and detail of a miniature, this intimate piece intended for private worship presents Saint John the Baptist in his traditional c

Portrait of a Humanist
Oil on panel. Ca. 1540
Scorel, Jan Van (Attributed To)
Portrait of a Humanist
Oil on panel. Ca. 1540
Scorel, Jan Van (Attributed To)

Although this panel is not documented, it has been attributed to Scorel since its attribution by Hoogewerff in 1923.The artist depicts the unknown humanist half-length in front of a landscape. Scorel’s time in Venice in 1520 acquainted him with the work of the artists working there, in particular Lorenzo Lotto.The latter had a major influence on his portraits, some of which reveal Scorel’s love of

Preparatory Study for the Monument to Vasco Núñez de Balboa in Panama City
Conté crayon on laid paper. 1923 - 1924
Blay y Fábrega, Miguel
Preparatory Study for the Monument to Vasco Núñez de Balboa in Panama City
Conté crayon on laid paper. 1923 - 1924
Blay y Fábrega, Miguel

Este es un dibujo preparatorio para el grupo Atlantes soportando la bola del mundo, que Blay tituló Las Raíces, base del monumento a Vasco Núñez de Balboa en Panamá. Este se levantó por iniciativa del presidente de la república panameña Belisario Porras, que solicitó en 1913 colaboración al rey de España. Ambos hicieron una aportación económica y el resto se financió con suscripciones públicas en

Trajan
White marble. First half of the XVI century
Anonymous
Trajan
White marble. First half of the XVI century
Anonymous

A bust of the emperor, Trajan (98-117 A.D.) made as one of the series of emperors produced in Rome during the first half of the sixteenth century, which were scattered throughout Europe.

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