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Venice was the predominant subject of most of Rico’s paintings, since he spent the summer months there for over thirty years. He was particularly interested in the bustling commercial life of the docks. Despite its apparent realism, this is an adapted view of Venice; Rico has removed the imposing prison building, which prompted the legend of the famous Bridge of Sighs. Legado de
Una barca de vela izada permanece en la orilla junto a un grupo de personas. La pincelada briosa y muy empastada, observable a simple vista, delata que el cuadro se trata de un apunte rápido, tomado del natural. La importancia concedida a la luz, aventura un tipo de pintura que se anticipa al luminismo de Sorolla.
On the shore, Saint Francis receives a young man dressed in a black habit, ruff collar and hat, whom Christ carries over the water. In the background: a boat and an embankment with two figures.This canvas is from the Carmelite convent of San Hermenegildo in Madrid, where, without describing it, Ponz lists it as a work by Cabezalero paired with another, now at the Alte Pinakothek in Munich, that i
David Roberts was one of the British romantic painters who traveled through Spain, capturing images that best represented the landscape and picturesque aspects of this country, especially in Andalusia. Here, he offers an image of the Guadalquivir River where it flows through Seville, with the Torre de Oro (Golden Tower) as the protagonist. The comings and goings of the boats on the water or berthe
Es un fragmento de una composición mayor. Figuró en la colección del duque del Arco (1745 y 1794). En 1818 consta en el Palacio de Aranjuez, desde donde es enviado al Museo (Texto extractado de Posada Kubissa, T.: Pintura holandesa en el Museo Nacional del Prado. Catálogo razonado, 2009, p. 190).
Es el cuadro más avanzado en la evolución de la obra de Claudio de Lorena que posee el Museo del Prado. Formaba pareja con otro lienzo perdido o destruido a comienzos del siglo XIX. En el inventario de la colección de Felipe V en La Granja se lee: Dos países en lienzo de Claudio de Lorena, el uno con un río que van vadeando unos bueyes hacia una fábrica o portal de columnas y el otro con otro río
This emblematic picture is undoubtedly the best-known work on a social theme produced by Sorolla in his youth. It is also an especially good example of how fully the artist became involved in a genre which, at the time, was of particular relevance in Madrid’s official artistic circles, where Sorolla was determined to receive his first public recognition. The depth of its meaning is probably indica
The format and the dimensions of this picture and the high horizon line allow for rendition of a large landscape, which displays what are generally regarded as the defining characteristics of Patinir`s style. Like the Rest on the Flight into Egypt (P1611), the foreground figures are shown on top of a hill in a scale suited to the proportions of the panel. On the much lower level of the middle grou
A panorama whose exquisitely contrasting colors -in the sky and in the dark green trees- reflect a prodigious mastery of light drawn from knowledge of Venetian techniques and Bolognese aesthetic concepts influenced, in turn, by Domenichino’s work in this field. The canvas expresses the spectacular monumentality of a landscape that contrasts the straightforward aspects of everyday rural life on the
Among the hunters depicted here are Ferdinand I, King of the Romans, on the left in the foreground, and the Elector of Saxony in the centre. On the other side of the river and holding a crossbow is the Electors wife Sibylla of Cleves. The episode takes place near the castle of Hartenfels in Torgau (Saxony) where the Elector, a supporter of the Reformation, had the first Lutheran church built. Ferd
Morera painted various views of this lake in the region of Umbria. This canvas was sent back to Spain during his first study year at the Spanish Academy in Rome. It reveals his interest in the winter landscape, which he reaffirmed years later in his views of the snow-covered peaks of the Sierra de Guadarrama.
The Virgin and Saint John are depicted on a sailboat, crossing tranquil seas on their way to Ephesis. The somber and distracted expressions on both their faces indicate they are lost in thought. The helmsman dozes in the stern, so the boat is guided by angels. This subject is inspired in religious literature concerning the mother off Christ, which tried to cover the episodes following the Savior´s
En un puerto, los habitantes de la aldea enclavada en el acantilado que cierra el espacio por la derecha están ocupados en diversas tareas: cargando y afianzando las mercancías en las barcazas ancladas en la orilla, pescando o reparando un bote. En el primer plano, a la derecha, tres hombres se han sentado a descansar en torno a una hoguera encendida bajo un chamizo protegido por las rocas y el ár
In the work the corpses of two castaways are represented, the youngest with his chest exposed. Both lie between the nets and tackle that are scattered on the bottom of a boat guided by a sailor in the middle of the sea. For the realization of this painting, Barbara made several excursions to the coastal towns, neighboring Rome. The painting was highly praised by the critics of its time, where they
Considered one of Benedito’s finest works by critics, this canvas depicts a group of picturesque women on the coast at Concarneau in Brittany. Benedito went there with Sotomayor during his time as a grant student in Rome, attracted by the distinctive culture of north western France which had already captivated numerous other European artists.
This painting depicts a river landscape, signed in Seville in 1850. For this reason, it belongs to the mature phase of the artist’s early years, far from his better-known works of utterly descriptive and topographical landscape views of Andalusian cities. On the contrary, this is a fantasy landscape, showing Barrón’s more creative side, as well as his ornamental sense of landscape, which wa
After being brought to Iria, in Galicia, by boat -the scene visible in the background of the painting- Saint James’s body was carried in a cart pulled by two bulls. In this painting, Athanasius and Theodore, James’s disciples, walk behind the cart, dressed as pilgrims, while Queen Lupa watches the procession, astonished to see that the wild bulls she sent have been tamed. This painting and P02668
Wooded landscape with figures in the foreground trying to cross a river by boat while others look on. The shades of greyish green, the strongly lit figures, and the city outskirts shrouded in mist recall the legacy of Salvator Rosa. Pagano, whose work exemplified the naturale landscape, added an element of mystery to his compositions, like Coccorante’s typical veduta ideata, but without reaching h
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