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Self-portrait with a Hat
Oil on canvas. 1901
Pinazo Camarlench, Ignacio
Self-portrait with a Hat
Oil on canvas. 1901
Pinazo Camarlench, Ignacio

Pinazo, an artist obsessed with his own image, painted numerous self-portraits, some showing him with a hat. In these works, he rendered his expressive facial features with naturalist exactitude against very sober backgrounds. The gaze of the eye in the lighted half of the face here reflects his efforts to capture the image directly and precisely, something his ample brushwork accomplishes with as

Self-Portrait
Oil on canvas. 1670 - 1680
Muñoz, Sebastián
Self-Portrait
Oil on canvas. 1670 - 1680
Muñoz, Sebastián

Considerado como pintado hacia 1688, de tratarse del autorretrato de este artista, nacido en 1650, demostraría contar en realidad unos veinticinco años aproximadamente, por lo cual convendría adelantar la fecha de su datación y estimar que se habría pintado antes de su estancia en Italia (1680-1684), comprobándose que ya se hallaba suficientemente capacitado como para pintar obras de cierta calida

The Burial of Christ
Oil on canvas. 1572
Titian (Tiziano Vecellio)
The Burial of Christ
Oil on canvas. 1572
Titian (Tiziano Vecellio)

Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first version (Paris, Louvre) of around 1526 which is clearly indebted to Raphael´s painting of that subject (Rome, Galleria Borghese), and his other versions painted between 1559 and 1572. The main differe

Self-Portrait
Oil on canvas. 1884
Domingo Marqués, Francisco
Self-Portrait
Oil on canvas. 1884
Domingo Marqués, Francisco

From an early age, Domingo displayed considerable skill as a portraitist. In this self-portrait, he is seated in profile, standing out against a dark background. In contrast to the intimate, introspective nature of most self-portraits, here the artist clearly had a larger public in mind; this is evident in the format and the clothing, and also in the emphasis on the tools of the painter’s professi

The Genius of Painting
Oil on canvas. Ca. 1650
Mehus, Lieven
The Genius of Painting
Oil on canvas. Ca. 1650
Mehus, Lieven

Born in Flanders, Livio Mehus moved to Milan at a young age and is thus often considered an artist of the Italian school. He is recorded in Rome at the age of fourteen and later in Florence, Lucca and around Genoa. He also worked successively in Piamonte and Lombardy. There is ample documentation of his activity as a painter of frescoes and oils, an expert on northern Italian painting and a restor

Gonzalo Fernández de Córdoba at the Battle of Cerignola
Oil on canvas. 1835
Madrazo y Kuntz, Federico de
Gonzalo Fernández de Córdoba at the Battle of Cerignola
Oil on canvas. 1835
Madrazo y Kuntz, Federico de

Este lienzo es una de las obras fundamentales de la pintura del Romanticismo español, así como el primer cuadro importante de este género realizado por Federico de Madrazo a lo largo de su fecundísima carrera, que dedicaría después de forma prácticamente exclusiva a la pintura de retratos. Realizado en tamaño poussinesco es decir, a un tercio del natural, siguiendo la moda académica de esos años.

The Calling of Saint Matthew
Oil on canvas. 1661
Pareja, Juan de
The Calling of Saint Matthew
Oil on canvas. 1661
Pareja, Juan de

Christ appears in the tax collector’s office and calls on Matthew to follow him. Matthew, depicted raising his right hand to his breast and with a star above his head, would become one of Christ’s most faithful followers and the author of one of the Gospels. Pareja, Velázquez’s former slave, places considerable emphasis on the setting of this work and also includes himself in the compositio

Self-portrait
Oil on canvas. 1810 - 1813
González Velázquez, Zacarías
Self-portrait
Oil on canvas. 1810 - 1813
González Velázquez, Zacarías

A member of a dynasty of artists that began with his grandfather, the sculptor Pablo González Velázquez (1664-1727), Zacarías González Velázquez initially trained with his father, the painter Antonio González Velázquez (1723-94). In 1777, he joined the Royal Academy of Fine Arts of San Fernando, an institution to which he remained tied for the rest

The Descent from the Cross
Oil on copperplate. Ca. 1550
Allori, Alessandro
The Descent from the Cross
Oil on copperplate. Ca. 1550
Allori, Alessandro

Christ´s dead body is taken off the Cross by Joseph of Arimathea, Nicodemus and Saint John the Evangelist. Among the people at his feet are the Virgin Mary, the mother of Joseph —also called Mary— as well as Salomé and Mary Magdalene, who raises her arms as a sign of her suffering. The good and bad thieves are crucified on trees. This scene follows the New Testament story of the Jesus´ desc

Self-portrait
Oil on canvas. Ca. 1830
Cruz y Ríos, Luis de la
Self-portrait
Oil on canvas. Ca. 1830
Cruz y Ríos, Luis de la

Retratado de busto prolongado, su rostro, de cabellera ondulada y cenicienta, parece representar unos 55 años. Viste uniforme de Secretario de Cámara, sobre el que ostenta la cruz, placa y banda de la orden de la Espuela de Oro, otorgada al pintor por el Papa Pio VII, además de la placa de comendador de la Orden de Carlos III y la encomienda ordinaria de Isabel la Católica.Este autorretrato es dem

Self-portrait
Oil on panel. 1761 - 1769
Mengs, Anton Raphael
Self-portrait
Oil on panel. 1761 - 1769
Mengs, Anton Raphael

Presented almost half-length with his face turned to the viewer, Mengs wears a velvet gown and holds the tools of his trade. The panel was painted shortly after the artist’s arrival in Spain and uses a distinctive, sketchy technique that allows the underlayer of priming to show through. The artist reappears in the Prado’s Adoration of the Shepherds (P-2204).

The Burial of Christ
Oil on canvas. 1559
Titian (Tiziano Vecellio)
The Burial of Christ
Oil on canvas. 1559
Titian (Tiziano Vecellio)

Titian represented the Gospel account of the burial of Christ (Matthew 27: 57-61; Mark 15: 44-47; Luke 23: 50-54; John 19: 38-42) on several occasions. There is a notable difference between his first version (Paris, Louvre) of around 1526 which is clearly indebted to Raphael´s painting of that subject (Rome, Galleria Borghese), and his other versions painted between 1559 and 1572. The main differe

Nicolás Omazur
Oil on canvas. 1672
Murillo, Bartolomé Esteban
Nicolás Omazur
Oil on canvas. 1672
Murillo, Bartolomé Esteban

Born in Antwerp in 1609, Omazur was a friend and admirer of Murillo’s. He established himself as a merchant in Seville where he wrote poetry and collected painting. The austerity of the image links it to the Spanish and Flemish traditions, while the presence of the skull transforms it into a “Vanitas”, inviting us to reflect on the transience of worldly glory. Adquirido en

Self-Portrait
Oil on unlined canvas. 1795
Goya y Lucientes, Francisco de
Self-Portrait
Oil on unlined canvas. 1795
Goya y Lucientes, Francisco de

This Self-Portrait’s small size indicates that it was intended for private and intimate use, as a gift to someone of interest to Goya. It came from the heirs of Tomás de Berganza, a butler to the Duke and Duchess of Alba who continued in the Duchess’s service after the Duke’s death. This provenance fueled a mid-19th-century romantic legend about Goya’s involvement with the Duchess, as the w

Self-Portrait
Oil on canvas. 1815
Goya y Lucientes, Francisco de
Self-Portrait
Oil on canvas. 1815
Goya y Lucientes, Francisco de

Goya deliberately presents himself here as vulnerable and fragile, revealing the most serene and welcoming facet of his personality. A dark background painted with rapid, energetic crossing brushstrokes adds presence to his reddish-brown frock coat, which contrasts with his very white, open-necked shirt, both of which are painted with finer brushstrokes than the background. This technique, in the

Self-portrait
Oil on canvas. Ca. 1562
Titian (Tiziano Vecellio)
Self-portrait
Oil on canvas. Ca. 1562
Titian (Tiziano Vecellio)

Titian painted his first self-portrait before leaving for Rome in 1545. However, it was after his Roman stay that he showed the most interest in disseminating his image in order to fully establish his position in a context of intense rivalry with Michelangelo. In 1549 Paolo Giovio acquired a self-portrait by the artist for his Museo in Como, while in 1550 the painter had another one sent to Charle

The Painter Francisco Bayeu
Oil on canvas. 1795
Goya y Lucientes, Francisco de
The Painter Francisco Bayeu
Oil on canvas. 1795
Goya y Lucientes, Francisco de

Court Painter, Director of the Academia de San Fernando in Madrid and a key artistic figure in the period, Bayeu was Goya’s brother-inlaw and their relations were at times extremely tense. This portrait, which was commissioned by Bayeu’s daughter for display at the Academy after the artist’s death in August 1795, is based on a selfportrait, now in a private collection.Goya emphasises Bayeu’s dry a

Self-portrait
Oil on canvas. Ca. 1856
Esquivel y Rivas, Carlos María
Self-portrait
Oil on canvas. Ca. 1856
Esquivel y Rivas, Carlos María

Availing himself of trompe l’oeil, the painter portrays himself at the age of 26 in an oval-shaped painting placed on a table surrounded by various items alluding to the theory and practice of the arts: a palette with brushes, a plaster cast of a female torso, several scrolls, an inkwell, books... Particularly noteworthy, because it is open, is the Treatise on Pictorial Anatomy –whose manuscript i

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