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Upon the death of Charles III, Goya was asked to paint portraits of the new monarchs, Charles Bourbon IV and his wife, María Luisa of Parma. As a recently named Royal Painter, the artist was responsible for supplying portraits of the Royal Family; aided by several painters in his workshop, he was required to fulfill the commissions of numerous different institutions and private citizens thr
The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the
The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the
Son of Louis Fernande, Dauphin of France, and Maria Josefina of Saxony, Louis XVI was born in 1754 and married Marie Antoinette of Austria in 1770. His father died without acceding to the throne and Louis succeeded his grandfather, Louis XV, in 1774. Arrested just prior to the proclamation of the French Republic, he was guillotined in 1793. Callet here follows Rigaud’s paintings of Louis XIV (Mus&
The sitter, daughter of Philip V, married Victor Amadeus III of Savoy in 1750. The carnation symbolises their marriage, as do the fragrant roses and jasmines given to her by Zephyr, the gentle spring wind with butterfly wings. Cupid, the god of love, meanwhile offers her some yellow daffodils, another symbol of spring, which are echoed by the pattern on her dress.
Ramiro II (c. 900-951) was a King of León. The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right
The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the
The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the
The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the
The theme of this triptych is the advent of salvation -a message about the universality of Redemption. The Eucharistic meaning inherent in the theme of Saint Gregory’s Mass is also found in The Adoration of the Magi in the wheat stored in the upper part of the hut, above the figure of the Antichrist. Unusually, Bosch includes in his depiction of the Mass of Saint Gregory in semi-grisaille seven Pa
The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the
Flavius Ervigius was a king of the Visigoths in Hispania (680-687). The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the
The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the
The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the
The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the
Estampa grabada por Juan Antonio Salvador Carmona que forma parte de una serie (G01573-G01576): Alegorías de las partes del mundo por la que recibió el título de Grabador de Cámara el 20 de febrero de 1786: "Las quatro partes del Mundo, originales de Lucas Jordán que existen en la referida colección del Real Palacio, las grabó en mayor tamaño del de un pliego de la expresada marca y las dedicó al
Estampa grabada por Manuel Salvador Carmona que reproduce el óleo pintado por Antón Raphael Mengs, conservado en el Museo Nacional del Prado (P02200). La lámina de cobre se la encargó a Carmona la Secretaría de Estado en 1782. Fue adquirida en 1875 por la Calcografía Nacional de Madrid, donde se conserva en la actualidad (R. 3796). El Museo conserva otros ejemplares de esta estampa (G02889, G02990
Es una litografía de Juan Antonio López (activo en Madrid entre 1826 y 1840) que reproduce el lienzo el lienzo de Claudio Coello conservado en el Museo Nacional del Prado (P00661). Esta estampa se entregaba con el cuadernillo LXXVI e iba acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo II de la serie editada por el Real Establecimiento Litográfico, dirigida
