Loading...
These four portraits of women, two double ones and two single ones (P02073, P02074 and P02076) presented standing and down to kneelevel, use the same architectural setting. The series is given visual [+]
Following his arrival in Paris in 1894, Anglada-Camarasa became extremely interested in the city’s nightlife. The interior of this café-concert, one of the many to be found in the capital, is s [+]
These four portraits of women, two double ones and two single ones (P02074, P02075 and P02076) presented standing and down to kneelevel, use the same architectural setting. The series is given visual [+]
Trained from childhood at the Academy of San Fernando in Madrid, Mariano Sánchez specialized in landscapes and views. Contemporary documents reveal also a talent for miniatures and portraits, w [+]
This view of Aranjuez Palace was painted in 1756, on the occasion of the celebration of the saint´s day of King Fernando VI (1713-1759). This work was one of a group of views of the Palace and of the [+]
This view of Aranjuez Palace was painted in 1756, on the occasion of the celebration of the saint´s day of King Fernando VI (1713-1759). This work was one of a group of views of the Palace and of the [+]
This is one of the Spanish Renaissance’s most emblematic depictions of a female figure and the best known of Yáñez de la Almedina’s works. Both considerations are due to the visibility t [+]
Rico combines his interest in the old buildings of Toledo, a city that he visited in 1875, with the picturesque motif of donkeys bearing water pitchers. His composition is based on various rapid, deft [+]
In 1814, Goya addressed the reagent, Cardinal Luis de Bourbon, offering to make works commemorating events from the War of Independence (1808-1812): "to perpetuate, with a paintbrush, the most notable [+]
At the time this painting was executed the palace of Coudenberg was the seat of the court of the Archduke Albert and the Archduchess Isabel Clara Eugenia in Brussels. This lively depiction of the pala [+]
These four portraits of women, two double ones and two single ones (P02073, P02075 and P02076) presented standing and down to kneelevel, use the same architectural setting. The series is given visual [+]
On August 29, 1626, King Philip IV’s painter, Vicente Carducho (ca. 1576-1638), signed a contract for the creation of a cycle of paintings to celebrate the founding of the Carthusian Order by Saint Br [+]
On August 29, 1626, King Philip IV’s painter, Vicente Carducho (ca. 1576-1638), signed a contract for the creation of a cycle of paintings to celebrate the founding of the Carthusian Order by Saint Br [+]
Within the brick and masonry walls of a traditional Castilian corral at a country house, a group of Majos and Majas rest on the ground and share a light meal. The elegance of some of their clothing, a [+]
A large auto-da-fé took place in Madrid on 30 June 1680 in the Plaza Mayor, presided over by the young Charles II (reigned 1665-1700) and his mother, Mariana of Austria, who are shown here bene [+]
Sánchez worked at the Madrid court and was commissioned to paint several views of the regions of Spain, with particular emphasis on ports, during the reign of Charles III. This painting belongs [+]
This portrait of the wife of the banker Henry O’Shea reveals the British influence on Madrazo’s fully romantic period. Her social position is indicated by the quality of the fabrics, laces and jewels, [+]
Gaspare Vanvitelli is unanimously considered the founder of the eighteenth-century urban veduta, which was based on close observation of views and drawing from life, including scenes of everyday event [+]
&imagen=https%3a%2f%2fcontent3.cdnprado.net%2fimagenes%2fDocumentos%2fimgsem%2fac%2fac60%2fac6077ef-dc2d-4ca3-b555-6219a2913e8c%2f488bf277-cdf9-4c49-b224-e3afdd4a1abb_268.jpg&idobra=ac6077ef-dc2d-4ca3-b555-6219a2913e8c){kind=link}