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Bullfight
Oil on canvas. 1867 - 1868
Fortuny, Mariano
Bullfight
Oil on canvas. 1867 - 1868
Fortuny, Mariano

The sketch, almost schematic character of this composition makes this one of the most attractive bullfighting scenes ever painted by Fortuny. It offers a panoramic view of a bullring -probably in Madrid- in which the powerful contrast of light between the part in the sun and the part in the shade is outstanding. The painter treats the hustle and bustle of the spectators as an undefined mass, with

A Street in the Albaicín. Granada
Pencil, Pencil, Grey-brown ink, Wash on yellow paper. 1871 - 1872
Fortuny, Mariano
A Street in the Albaicín. Granada
Pencil, Pencil, Grey-brown ink, Wash on yellow paper. 1871 - 1872
Fortuny, Mariano

This drawing shows Fortuny’s fondness for the architecture and winding alleyways of the Albaicín, one of Granada’s landmark districts. The narrowness of the streets provided the painter with an excellent opportunity to study perspective, aided by the line running along the centre of many of its cobbled streets -channels that carried water from the Arab cisterns at the top of the hill.

Sand with Mountain Line. Morocco
Pencil strokes, Watercolour on white paper. Ca. 1860
Fortuny, Mariano
Sand with Mountain Line. Morocco
Pencil strokes, Watercolour on white paper. Ca. 1860
Fortuny, Mariano

The Provincial Council of Barcelona sent Fortuny to Morocco to compile graphic information for subsequent paintings on the most notable achievements in the Spanish-Moroccan War, in which Catalan volunteer troops were fighting. In Morocco from February 1860, Fortuny followed the campaign, witnessing and subsequently painting The Battle of Wad-Ras. At the same time he was also notably attracted by l

Perfume Bottle
Brush, Pencil, Black wash on yellow paper. 1870 - 1872
Fortuny, Mariano
Perfume Bottle
Brush, Pencil, Black wash on yellow paper. 1870 - 1872
Fortuny, Mariano

El objeto representado en este dibujo, que en algún momento debió de atraer el interés de Fortuny, ha de valorarse en el contexto de su faceta coleccionista. Aunque no aparezca en la testamentaría ni en las dos ventas que se realizaron inmediatamente después de su muerte, no se puede descartar que formara parte de su colección o que lo comprara para alguno de sus amigos coleccionistas. Como se obs

Sea with Vesuvius in the Background
Watercolour on white paper. 1874
Fortuny, Mariano
Sea with Vesuvius in the Background
Watercolour on white paper. 1874
Fortuny, Mariano

In the summer of 1874, Fortuny found the Tyrrhenian sea to be a constant stimulus for painting outdoors. The cobalt-blue of the expanse of water is the predominant feature of this seascape, depicted from off the coast of Sorrento or Capri. Visible in the background is the bay of Naples with Mount Vesuvius and, at its foot, hinted at by a tiny reserve space, the buildings of the coastal towns, amon

Friar begging
Pencil, Watercolour on white paper. 1862 - 1867
Fortuny, Mariano
Friar begging
Pencil, Watercolour on white paper. 1862 - 1867
Fortuny, Mariano

Fortuny was particularly interested in the human types who were part of Rome’s urban landscape. Prominent among them were these Capuchin friars dressed in the characteristic brown tunic and long cloak of their religious order, who carried a bucket and stick when begging for alms. The space is hinted at chiefly by the shadow cast on the wall and the ground by the figure, whose wiry hair is depicted

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