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Alfonso XII
Oil on canvas. 1886
Madrazo y Kuntz, Federico de
Alfonso XII
Oil on canvas. 1886
Madrazo y Kuntz, Federico de

This is a posthumous portrait of the monarch. He appears standing, in full-length, and dressed in a simple captain-general’s uniform, upon which he bears the grand laureate cross and sash of the military order of San Fernando (Saint Ferdinand), as well as the decorations of the Golden Fleece hanging from his collar and a cummerbund and a sabre girdle around his waist. He poses inside a palatial sa

Juan Francisco de Pimentel, Count of Benavente
Oil on canvas. Ca. 1648
Velázquez, Diego Rodríguez de Silva y (Attributed To)
Juan Francisco de Pimentel, Count of Benavente
Oil on canvas. Ca. 1648
Velázquez, Diego Rodríguez de Silva y (Attributed To)

Juan Francisco Alfonso de Pimentel Ponce de León, 10th Count and 7th Duke of Benavente (1584-1652), is portrayed more than half length with a whole host of attributes that confirm is supreme military rank in the Spanish army. In addition to gentleman-in-waiting to Phillip IV, he was appointed captain general in charge of frontier defense during the Portuguese uprising (1641) and participate

Charles III
Oil on canvas. Ca. 1765
Mengs, Anton Raphael
Charles III
Oil on canvas. Ca. 1765
Mengs, Anton Raphael

This image of King Charles III was paired with a portrait of his wife, Maria Amalia of Saxony (P2201), although the image of the queen was not painted in her presence. Instead, it was invented on the basis of other likenesses, as she died before the artist was able to paint her.Mengs’s effigie of Charles III became the monarch’s official image and was therefore the object of various replicas. One

Philip IV in Armour, with a Lion at his Feet
Oil on canvas. Ca. 1653
Velázquez, Diego Rodríguez de Silva y (Workshop Of)
Philip IV in Armour, with a Lion at his Feet
Oil on canvas. Ca. 1653
Velázquez, Diego Rodríguez de Silva y (Workshop Of)

In its present state the painting reveals two different phases of creation. The apparent age of the sitter and the notable similarities with his appearance in Velázquez`s portrait of the elderly Philip IV in the Museo del Prado (P01185) have meant that this painting is generally dated to the 1650s. However, technical studies have revealed important changes, primarily affecting the head and

Charles II, King of Spain, on Horseback
Oil on canvas. Ca. 1693
Giordano, Luca
Charles II, King of Spain, on Horseback
Oil on canvas. Ca. 1693
Giordano, Luca

Luca Giordano (1634-1705) made an equestrian portrait of Charles II for the Hall of Mirrors at Madrid’s Alcázar palace to emphasize the dynastic continuum in which Charles II constituted the latest link in a chain that had begun with Titian’s portrait of Charles V: Charles V at Mühlberg. The loss of Titian’s work in the fire that ravaged the Alcázar in 1734 makes it impossible t

Philip III on Horseback
Oil on canvas. Ca. 1635
Velázquez, Diego Rodríguez de Silva y
Philip III on Horseback
Oil on canvas. Ca. 1635
Velázquez, Diego Rodríguez de Silva y

This was one of the paintings decorating the Hall of Realms at Madrid´s Buen Retiro Palace, where various discourses (territorial, mythological, military, and so on) combined to make up the decoration. Genealogical matters were addressed through five portraits that respectively depicted the reigning monarch, Philip IV (P01178), his wife (P01179), their parents (the present work and P01177) and the

An Artillery General
Oil on canvas. Ca. 1660
Rizi, Francisco
An Artillery General
Oil on canvas. Ca. 1660
Rizi, Francisco

The baton in the sitter’s right hand and the cannon indicate that he is an artillery general, while the insignia hanging from his neck denotes his membership of the Order of Calatrava. Stylistically this canvas is clearly indebted to the work of Anthony van Dyck (1599-1641).

The Relief of Genoa by the 2nd Marquis of Santa Cruz
Oil on canvas. 1634 - 1635
Pereda y Salgado, Antonio de
The Relief of Genoa by the 2nd Marquis of Santa Cruz
Oil on canvas. 1634 - 1635
Pereda y Salgado, Antonio de

Here, the doge of the Republic of Genoa emerges through the gates of the city in order to receive Don Álvaro de Bazán, the Marquis of Santa Cruz, who has arrived as the commander of a fleet intended to protect the city from assault by the French troops led by the Constable Lesdiguières and Charles Emmanuel I, the Duke of Savoy. In the distance, the city´s populace jubilantly g

King Sebastian of Portugal
Oil on canvas. 1572
Morales, Cristóbal de
King Sebastian of Portugal
Oil on canvas. 1572
Morales, Cristóbal de

The adolescent King Sebastian is depicted with all of the customary conventions associated with formal portraits of the Habsburgs. These portraits´ models of authority and power, which perfectly embody the identification of the model and the representation of the monarchy as defender of Christianity, were codified by Titian and Mor in images of Charles V and Philip II. Mor´s stay in Portugal in 15

Don Juan José of Austria
Oil on canvas. 1677
Jiménez Donoso, José
Don Juan José of Austria
Oil on canvas. 1677
Jiménez Donoso, José

This is a magnificent portrait depicting John Joseph of Austria dressed in half armour, high riding boots, a sash and general’s sash from which his sword hangs. His right hand firmly grasps the general’s sceptre, and his left hand rests haughtily on his hip. He wears a French-style kerchief around his neck and the cross of the Order of Malta on his chest. The illegitimate royal is placed within an

The Cardinal-Infante Don Fernando de Austria, at the Battle of Nördlingen
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules; Rubens, Peter Paul (Author Of The Original Work); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The Cardinal-Infante Don Fernando de Austria, at the Battle of Nördlingen
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules; Rubens, Peter Paul (Author Of The Original Work); Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut

The Cardinal-Infante Don Fernando de Austria, at the Battle of Nördlingen
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules; Rubens, Peter Paul (Author Of The Original Work); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Cardinal-Infante Don Fernando de Austria, at the Battle of Nördlingen
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules; Rubens, Peter Paul (Author Of The Original Work); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut

The Surrender of Jülich
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Surrender of Jülich
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut

Philip III on Horseback
Crayon lithography, Lithographic aquatint on wove paper. 1829 - 1832
Jollivet, Pierre-Jules; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Philip III on Horseback
Crayon lithography, Lithographic aquatint on wove paper. 1829 - 1832
Jollivet, Pierre-Jules; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Es una litografía de Pierre-Jules Jollivet (1794-1871) que reproduce el lienzo de Velázquez conservado en el Museo Nacional del Prado (P1176). Esta estampa se entregaba con el cuadernillo LXVIII acompañado de un texto explicativo de José Musso y Valiente. Iba encuadernada en el tomo II de la serie dirigida por José de Madrazo, "Colección litográfica de cuadros del rey de España el señor don Fernan

Prince Baltasar Carlos on Horseback
Drypoint, Etching on laid paper. 1778
Goya y Lucientes, Francisco de
Prince Baltasar Carlos on Horseback
Drypoint, Etching on laid paper. 1778
Goya y Lucientes, Francisco de

Entre 1777 y 1778 diversos ilustrados manifestaron su preocupación por la falta de grabadores que acometieran el proyecto de reproducir las pinturas que se conservaban en las colecciones españolas, fundamentalmente en los Palacios Reales, como medio para dar a conocer a nacionales y extranjeros la riqueza y el valor de nuestra pintura. Goya se hizo eco de esta idea y comenzó a grabar una serie de

Prince Baltasar Carlos on Horseback
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1825
Jollivet, Pierre-Jules; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Prince Baltasar Carlos on Horseback
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1825
Jollivet, Pierre-Jules; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut

Philip IV on Horseback
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Philip IV on Horseback
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1826 - 1829
Jollivet, Pierre-Jules; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut

Philip III on Horseback
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Jollivet, Pierre-Jules; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
Philip III on Horseback
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Jollivet, Pierre-Jules; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

Es una litografía de Pierre-Jules Jollivet que reproduce el lienzo de Velázquez conservado en el Museo Nacional del Prado (P1176). Estampa encuadernada en el segundo volumen, cuadernillo LXVIII, con un texto explicativo de José Musso y Valiente. Pertenece a la serie editada por el Real Establecimiento Litográfico, dirigida por José de Madrazo, "Colección litográfica de cuadros del rey de España el

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