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Doorway of a House in Toledo
Oil on panel. 1875 - 1878
Rico y Ortega, Martín
Doorway of a House in Toledo
Oil on panel. 1875 - 1878
Rico y Ortega, Martín

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 sketches that he made in one of his notebooks. The principal focus of interest is the effect of the dazzling sunlight of Toledo as it falls on the house façades.

Carlota Joaquina, Infanta of Spain and Queen of Portugal
Oil on canvas. 1785
Maella, Mariano Salvador
Carlota Joaquina, Infanta of Spain and Queen of Portugal
Oil on canvas. 1785
Maella, Mariano Salvador

Painted in Aranjuez, this portrait depicts the eldest daughter of Charles IV and María Luisa de Parma. Born in 1775, in 1785 the Infanta married Prince Juan de Braganza, the future Juan VI of Portugal. She died in 1830. This is one of Maella’s finest portraits as well as a perfect example of the delicate refinement of court portraiture at this period.

Archduchess Maria Theresa of Austria
Oil on canvas. 1771
Mengs, Anton Raphael
Archduchess Maria Theresa of Austria
Oil on canvas. 1771
Mengs, Anton Raphael

In portraits of female subjects, Anton Rafael Mengs displays a warm and gentle quality, more Rococo in tone than the slightly academic coldness marking his historical and mythological compositions. The eldest daughter of the Grand Dukes of Tuscany and a granddaughter of Charles III, the Archduchess María Teresa Habsburg-Lorena is shown here at full length, next to a caged parrot. Her dress,

Still-Life with Game Birds and a Hare
Oil on canvas. 1774
Castillo, José del
Still-Life with Game Birds and a Hare
Oil on canvas. 1774
Castillo, José del

This work is a cartoon for an over-door tapestry intended for the Prince of Asturias’s chambers at the palace in San Lorenzo del Escorial. Long classified as an anonymous painting in the Museo del Prado’s catalogs, it can now be attributed without doubt to José del Castillo and considered a cartoon for a tapestry from the Royal Tapestry Factory of Santa Bárbara, where the artist work

Portrait of a Prince of Lorraine, possibly Charles Alexander
Oil on canvas. Ca. 1715
Gobert, Pierre
Portrait of a Prince of Lorraine, possibly Charles Alexander
Oil on canvas. Ca. 1715
Gobert, Pierre

Pese a su apariencia femenina, se trata de un retrato de varón ataviado con la indumentaria acostumbrada en la corte de Lorena para los niños de hasta cuatro años. Hubo de ser enviado como regalo por los duques de ese territorio a sus parientes españoles, siendo la duquesa Isabel Carlota de Orleans tía de la reina de España María Luisa Gabriela de Saboya. Aunque el parecido con sus hermanos Leopol

Rafaela Flores Calderón
Oil on canvas. Ca. 1842
Esquivel, Antonio María
Rafaela Flores Calderón
Oil on canvas. Ca. 1842
Esquivel, Antonio María

The portrait of Rafaela Flores Calderón is part of an anthology of Spanish Romantic child portraits. Rafaela leans on a large empty cage while a gray parrot perches on her left hand. In the background a flower garden has a pedestal topped by a large vase on the right. Notable here is the painter´s special sensitivity at capturing the model´s natural elegance, which recalls English child por

La Torre de las Damas in the Alhambra, Granada
Oil on canvas. 1871
Rico y Ortega, Martín
La Torre de las Damas in the Alhambra, Granada
Oil on canvas. 1871
Rico y Ortega, Martín

This work was painted at a very important moment in Rico’s career, a period spent in direct contact with Fortuny in Granada in 1871 and 1872. He move there towards the end of 1870, but he was already familiar with that city from a stay in 1857 while painting in Sierra Nevada. On November 18 of that year, Fortuny wrote a letter inviting Rico to join him and his brother-in-law, Ricardo de Madrazo. A

Raimundo Roberto and Fernando José, the Sons of Infanta Josefa Fernanda of Spain
Oil on canvas. 1855
Esquivel, Antonio María
Raimundo Roberto and Fernando José, the Sons of Infanta Josefa Fernanda of Spain
Oil on canvas. 1855
Esquivel, Antonio María

This composition reflects the ideals of José Güell (1818-1884), the boys’ father, a friend of the artist and a writer and liberal journalist. The fact that the sitters are freeing some goldfinches and are dressed as Arcadian shepherds refers to the ideas of the French philosopher Jean-Jacques Rousseau (1712-1778) on the liberty important for children’s education. The sculptural modelli

Young woman stroking her hair
Brush, Indian ink wash on laid paper. 1794 - 1795
Goya y Lucientes, Francisco de
Young woman stroking her hair
Brush, Indian ink wash on laid paper. 1794 - 1795
Goya y Lucientes, Francisco de

The Museo del Prado has four drawings (e/f [D04184, D04183], g/h [D04342, D04342/1], i/j [D04185, D04186], m/n [D07360, D07360/1]) with scenes on both sides from what is known as Goya’s Album A or Sanlúcar de Barrameda Album, as it was rapidly assumed to have been made by Goya in that city in the province of Cadiz during his stay there between spring 1796 and March 1786. The work presented

Young woman sweeping
Indian ink, Wash on laid paper. 1794 - 1795
Goya y Lucientes, Francisco de
Young woman sweeping
Indian ink, Wash on laid paper. 1794 - 1795
Goya y Lucientes, Francisco de

The Museo del Prado has four drawings (e/f [D04184, D04183], g/h [D04342, D04342/1], i/j [D04185, D04186], m/n [D07360, D07360/1]) with scenes on both sides from what is known as Goya’s Album A or Sanlúcar de Barrameda Album, as it was rapidly assumed to have been made by Goya in that city in the province of Cadiz during his stay there between spring 1796 and March 1786. The work presented

Chandelier
Hard-paste. Ca. 1765
Chelsea Porcelain Manufactory
Chandelier
Hard-paste. Ca. 1765
Chelsea Porcelain Manufactory

Este candelero y su parejea (O279) pertenecen, probablemente, a la cuarta etapa de produción de la Fábrica de porcelana de Chelsea, ya que todo indica a que es una obra de hacia 1765. Ambos están realizados de pasta tierna barnizada y policromada en azul, verdes esmeralda, turquesa, rojo ladrillo, malva, violeta y oro. Son una pareja de pastor y pastora cada uno sentado ante un arbusto florido, af

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