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Charles IV and his Family honoured by the University of Valencia
Oil on canvas. 1802
López Portaña, Vicente
Charles IV and his Family honoured by the University of Valencia
Oil on canvas. 1802
López Portaña, Vicente

During his visit to Valencia in 1802, the Literary University of the city gave the King this painting which shows the university, personified as a young matron, introducing the royal family to the various faculties: Theology, Law, Philosophy and Medicine. They are accompanied by the goddess Minerva, who points to Peace, Victory and Abundance, who fly over this symbolic reception.

Allegory of Fame
Oil on canvas. Ca. 1775
Castillo, José del
Allegory of Fame
Oil on canvas. Ca. 1775
Castillo, José del

This singular composition, which can be dated 1775, was painted at the height of the 18th century, although, in aesthetic terms, the Baroque was already in decline as it entered its final phase. Its decorative conception echoes the refinement of the rococo, although it draws much of its material from the anaglyphic repertory of the mature Renaissance—conveniently polished—when artists were recover

The Spanish Monarchy
Grisaille, Oil on canvas. 1794
Bayeu, Francisco
The Spanish Monarchy
Grisaille, Oil on canvas. 1794
Bayeu, Francisco

A sketch for a ceiling at Madrid´s Royal Palace, painted in 1794. Bayeu used grisaille technique: a monochrome depiction in shades of gray and chestnut brown. The Spanish Monarchy is represented by an imposing matron wearing a helmet and surrounded by allegorical figures that constitute a group of considerable iconographic interest for which Bayeu had to conscientiously study the treatises then cu

Eternal Happiness (preparatory sketch)
Oil on canvas. Ca. 1813
Madrazo y Agudo, José de
Eternal Happiness (preparatory sketch)
Oil on canvas. Ca. 1813
Madrazo y Agudo, José de

This is a modellino for the canvas commissioned by Charles IV during his exile in Rome for the ceiling of a room in the Palazzo di Spagna. The artist and his royal client’s tastes are revealed in the use of quintessentially Raphaelesque models, evident in the face of the woman and the poses of the two small putti holding up the cartouches.

Philip II on Horseback
Oil on canvas. 1629 - 1640
Rubens, Peter Paul
Philip II on Horseback
Oil on canvas. 1629 - 1640
Rubens, Peter Paul

A posthumous portrait of Felipe II wearing full body armor, a cape and a hat and riding a horse. Victory crowns him with laurels. The background alludes to a battle, probably that of San Quentín in 1557.Inspired by the knightly ideas of the sixteenth century, this portrait is based on representations of Roman emperors that circulated on Flemish and Italian prints, as well as an image of Car

Vulcan's Forge
Oil on canvas. 1630
Velázquez, Diego Rodríguez de Silva y
Vulcan's Forge
Oil on canvas. 1630
Velázquez, Diego Rodríguez de Silva y

A figure suddenly appears on the left in a forge where various blacksmiths are working, dressed in an orange robe and wearing a laurel wreath, with rays of light emerging from his head. This is Apollo, who addresses himself to Vulcan, the blacksmith nearest to him, whose stance reveals his lameness. Everyone has stopped working, astonished by the news Apollo is recounting: the adultery of Vulcan`s

The seven Liberal Arts
Tempera on panel. Ca. 1435
Ponte, Giovanni Dal
The seven Liberal Arts
Tempera on panel. Ca. 1435
Ponte, Giovanni Dal

This decoration of the front of a chest depicts the seven Liberal Arts, accompanied by an equal number of figures that represent the most relevant personages in each discipline. All are being crowned with laurel wreaths by small angels. Astronomy presides over the composition, carrying the heavenly sphere, with Ptolomy (first and second centuries A.D.) sitting at his feet and reading one of the th

Charles II as a Child
Oil on canvas. Ca. 1670
Herrera Barnuevo, Sebastián de
Charles II as a Child
Oil on canvas. Ca. 1670
Herrera Barnuevo, Sebastián de

Herrera Barnuevo was Charles II`s court painter, executing portraits of him between 1667 and 1671. These images include numerous elements referring to the young monarch`s royal status. Here various putti support the sceptre, crown and palm while on the left another one lifts up the insignia of the Golden Fleece and a crowned eagle holds a laurel wreath.

Philip II offering the Infante Fernando to Victory
Oil on canvas. 1573 - 1575
Titian (Tiziano Vecellio)
Philip II offering the Infante Fernando to Victory
Oil on canvas. 1573 - 1575
Titian (Tiziano Vecellio)

This painting commemorates events that took place in 1571: the defeat of the Turkish armada at Lepanto on October 7, and the birth of the infante Fernando, heir to the throne, on December 5th. The proximity of these two events led them to be viewed repeatedly as gifts from Heaven in circles close to the monarch. Thus, a letter from Luis de Requesens, Governer of Milan to Sancho de Padilla, dated D

Young Man between Vice and Virtue
Oil on canvas. Ca. 1581
Veronese, Paolo (Paolo Cagliari)
Young Man between Vice and Virtue
Oil on canvas. Ca. 1581
Veronese, Paolo (Paolo Cagliari)

The moralizing intention of this work shows the two paths that will tempt men over the course of their lives: Virtue and Vice. Virtue, wearing the crown of laurels that has been her symbol since Antiquity, and hiding her anatomy under ample vestments, takes the youth by the hand. Vice, in the form of a blond Venetian courtesan with a generous décolleté and numerous jewels, reaches ou

The Triumph of David
Oil on canvas. Ca. 1630
Poussin, Nicolas
The Triumph of David
Oil on canvas. Ca. 1630
Poussin, Nicolas

In an architectural setting, a winged Victory crowns David with a laurel wreath. The latter holds his sword with one hand and looks directly at Goliath´s decapitated head, which rests on some pieces of armor. Three putti complete the group. One of them plays an instrument while another hands Victory the royal crown destined for David. This image alludes to a passage from the Old Testament (Samuel

Briseis returned to Achilles by Nestor
Oil on panel. 1630 - 1635
Rubens, Peter Paul (And Workshop)
Briseis returned to Achilles by Nestor
Oil on panel. 1630 - 1635
Rubens, Peter Paul (And Workshop)

A model for the tapestry on the same subject that belongs to a series of eight about the Greek hero. The Story of Achilles is smaller than other projects by Rubens, but the quality of its sketches, models and tapestries make it one of his most important.Achilles vowed to take revenge on Hector for the death of his friend Patroclus. His anger with Agamemnon had subsided and he decided to take up ar

Sketch for Allegory of the Institution of the Order of Charles III
Oil on canvas. 1827 - 1828
López Portaña, Vicente
Sketch for Allegory of the Institution of the Order of Charles III
Oil on canvas. 1827 - 1828
López Portaña, Vicente

This preparatory sketch for the ceiling of Charles III’s former bedroom at the Royal Palace in Madrid depicts the Institution of the Order of Charles III following the birth of the King’s first male grandchild. A personification of Monarchy holds the newborn Infante in its arms, and the Virgin of the Immaculate Conception, patroness of the Order, is depicted at the centre of the composition.

Divine and Profane Love
Oil on canvas. 1813
Madrazo y Agudo, José de
Divine and Profane Love
Oil on canvas. 1813
Madrazo y Agudo, José de

A young male spirit symbolizing Virtue sits at the foot of an oak tree wearing a laurel crown. He looks to the heavens offering the crown he obtained after his victory over Earthly Love. Conquered and stripped of his weapons —they lie on the ground— the latter is tied to a tree. Madrazo made this work during his stay in Rome, influenced by a subject with clear antecedents in Renaissance painting a

Parnassus
Oil on canvas. 1630 - 1631
Poussin, Nicolas
Parnassus
Oil on canvas. 1630 - 1631
Poussin, Nicolas

Parnassus, the mythological mountain of Apollo and the Muses is the scene for a celebration of the Arts, especially Poetry. Apollo offers the nectar of the gods to a poet, probably Homer, who is crowned with a laurel wreath by Calliope, the muse of epic poetry. The putti in the foreground offer the poets the water of inspiration that flows from the spring of Castalia, personified by the nude woman

The Crowning of a Soldier-Poet
Pencil, Pencil ground, Wash on yellow laid paper. 1660 - 1667
Cano, Alonso
The Crowning of a Soldier-Poet
Pencil, Pencil ground, Wash on yellow laid paper. 1660 - 1667
Cano, Alonso

The bust of a long-haired and mustached poet dressed in a cuirass appears in an exedra with attached columns. A winged figure flies towards him carrying laurel crowns in both hands. Apollo’s chariot appears above them, barely sketched in. Sánchez Cantón considers the signature original. Wethey dates this drawing from between 1660 and 1667. The Museo del Prado’s handwritten inventory

Allegory
Black chalk, Grey-brown wash on yellow laid paper. XVIII century
Maella, Mariano Salvador
Allegory
Black chalk, Grey-brown wash on yellow laid paper. XVIII century
Maella, Mariano Salvador

Dibujo en el que se representa una escena alegórica en la que Palas Atenea, entre nubes, señala a un anciano coronado de laurel con un libro bajo el brazo y en actitud de ascender una pendiente, la entrada de un pórtico resplandeciente. En primer término, a la derecha, Hércules matando a la hidra, y en el centro, unos amorcillos o genios revolotean con coronas de laurel.Seguramente el dibujo es pe

King Charles IV
Marble. 1815
Barba, Ramón
King Charles IV
Marble. 1815
Barba, Ramón

The King is portrayed as a Roman emperor, with laurel wreath and classical toga. Barba was one of the leading figures in the first generation of Spanish artists to train in Rome, where he lived from 1797 until 1822. He had been granted a pension by Charles IV, and when the King moved to Rome in 1812, after a period of exile in France, he was appointed Court Sculptor. Signed and dated.

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