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Portrait of King Charles IV
Oil on canvas. 1790
Goya y Lucientes, Francisco de (Copy)
Portrait of King Charles IV
Oil on canvas. 1790
Goya y Lucientes, Francisco de (Copy)

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

Portrait of Queen María Luisa
Oil on unlined canvas. 1790
Goya y Lucientes, Francisco de (Copy)
Portrait of Queen María Luisa
Oil on unlined canvas. 1790
Goya y Lucientes, Francisco de (Copy)

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

Witteric
Oil on canvas. Ca. 1859
Soriano Murillo, Benito
Witteric
Oil on canvas. Ca. 1859
Soriano Murillo, Benito

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 Dance. Folk Traditions from the Province of Soria
Oil on canvas. 1866
Domínguez Bécquer, Valeriano
The Dance. Folk Traditions from the Province of Soria
Oil on canvas. 1866
Domínguez Bécquer, Valeriano

In 1865 the Government of Isabel II commissioned Valeriano Domínguez Bécquer to capture the customs and costumes of Spain´s provinces. This work is part of that project whose anthropological bent was very much in keeping with the Romantic mentality. It shows one of the traditional dances from the province of Soria. This work entered the Prado Museum in 1878 from the now-defunct Museu

The Beheading of Saint John the Baptist
Oil, Tempera on panel. 1490 - 1500
Segovia, Juan de
The Beheading of Saint John the Baptist
Oil, Tempera on panel. 1490 - 1500
Segovia, Juan de

The panel shows three different scenes: in the distance on the left Salome’s dance, and on the right Salome is giving Herodias the Baptist’s head. In the foreground the beheading has already taken place: the executioner is placing John’s head on the platter that Salome is holding. The work comes from the Charterhouse in Miraflores, together with five other panels (P00705-P00710).

Chindasuinth
Oil on canvas. 1854
Barroeta y Anguisolea, Juan de
Chindasuinth
Oil on canvas. 1854
Barroeta y Anguisolea, Juan de

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 Siesta, or Pompeian Scene
Oil on canvas. 1868
Alma-Tadema, Sir Lawrence
The Siesta, or Pompeian Scene
Oil on canvas. 1868
Alma-Tadema, Sir Lawrence

A domestic scene set in classical antiquity. An old man and a youth recline on divans while an attractive young woman plays music on a double flute. Both the clothing and the setting suggest the Greek world, and the motives and clothing are rigorously faithful to archeological discoveries made in the mid nineteenth century. Despite being Dutch by birth, Sir Lawrence Alma cultivated an eclectic per

Louis XVI of France
Oil on canvas. 1778 - 1779
Callet, Antoine-François
Louis XVI of France
Oil on canvas. 1778 - 1779
Callet, Antoine-François

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&

Contemporary Poets. A Reading by Zorilla in the Painter's Studio
Oil on canvas. 1846
Esquivel, Antonio María
Contemporary Poets. A Reading by Zorilla in the Painter's Studio
Oil on canvas. 1846
Esquivel, Antonio María

The most famous of Esquivel´s pieces and a leading work of Spanish Romanticism. Considered the maximum graphical testimony to the intellectual atmosphere during the reign of Isabel II (1830 - 1904), this canvas depicts a fictitious meeting of Esquivel´s most relevant cultural contemporaries. The composition combines the complexities of a group portrait with the scheme of Flemish Baroque cabinet po

The Infanta María Antonia Fernanda of Bourbon
Oil on canvas. Ca. 1750
Amigoni, Jacopo
The Infanta María Antonia Fernanda of Bourbon
Oil on canvas. Ca. 1750
Amigoni, Jacopo

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.

Portrait of a Young Gentleman
Oil on panel. 1517 - 1520
Mostaert, Jan
Portrait of a Young Gentleman
Oil on panel. 1517 - 1520
Mostaert, Jan

As this painting shows, the German portrait style survived in Antwerp well into the sixteenth century: the sitter is shown half-length against a brightly-coloured background. In his left hand he holds a ring, a standard attribute in wedding portraits. The female companion piece has not been identified.

Ramiro II of León
Oil on canvas. 1852
Casado, Rufino
Ramiro II of León
Oil on canvas. 1852
Casado, Rufino

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

Alfonso VI of León and Castile
Oil on canvas. 1851
Cortés, Ramón
Alfonso VI of León and Castile
Oil on canvas. 1851
Cortés, Ramón

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

Alfonso XI of Castile
Oil on canvas. 1849
Cerdá de Villarestan, Francisco
Alfonso XI of Castile
Oil on canvas. 1849
Cerdá de Villarestan, Francisco

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

Amalia de Llano y Dotres, Countess of Vilches
Oil on unlined canvas. 1853
Madrazo y Kuntz, Federico de
Amalia de Llano y Dotres, Countess of Vilches
Oil on unlined canvas. 1853
Madrazo y Kuntz, Federico de

The sitter, a Monarchist writer, an excellent horsewoman and a friend of the artist, is seated in a fine armchair, her figure brightly lit in the shadowy room. This appealing portrait has a decidedly French air, and is clearly influenced by the work of Ingres; it is far removed from the austere restraint of Spanish tradition. Madrazo highlights the sitter’s youth -she was thirty-two at the time- a

Silo of Asturias
Oil on canvas. 1853
Cano de la Peña, Eduardo
Silo of Asturias
Oil on canvas. 1853
Cano de la Peña, Eduardo

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 Finding of Moses
Oil on canvas. 1633
Gentileschi, Orazio
The Finding of Moses
Oil on canvas. 1633
Gentileschi, Orazio

Painted in London when the artist was nearly seventy years old, Moses Rescued from the Nile is undoubtedly the finest work from Orazio Gentileschi’s final period. Exquisitely refined and subtle in its emotions, it was conceived to please that most informed and demanding connoisseur of painting, King Philip IV of Spain. The artist sent it to him as a gift in the summer of 1633, and his son Francesc

The Country Picnic
Oil on canvas. 1784
Bayeu, Francisco
The Country Picnic
Oil on canvas. 1784
Bayeu, Francisco

Within the brick and masonry walls of a traditional Castilian corral at a country house, a group of Majos and Majas rest on the ground and share a light meal. The elegance of some of their clothing, and the sword on the left, along with the youths´ somewhat unrefined flirting, indicate that the lords have been joined by some of the locals. A typical element in this sort of images rests on th

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