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In the Studio
Oil on panel. Ca. 1880
Palmaroli y González, Vicente
In the Studio
Oil on panel. Ca. 1880
Palmaroli y González, Vicente

A young woman seems to gaze dreamily at a canvas on an easel, over which a large cloth has been partially draped, and at a sheaf of prints on a stool. The Japanesestyle clothes, the bright colours and the cluttered scene - highly decorative in effect- clearly point to the influence of Fortuny’s orientalism on Palmorali’s work.

The Artist
Oil on canvas. Ca. 1887
Martínez del Rincón y Trives, Serafín
The Artist
Oil on canvas. Ca. 1887
Martínez del Rincón y Trives, Serafín

El palentino Martínez del Rincón desarrolló una carrera marcada por las reminiscencias de un romanticismo tardío. Combinó su interés por los asuntos orientalistas con la pintura de tipos femeninos, que abordó siempre desde arquetipos conservadores. Esta es una de sus pinturas más célebres en ese sentido, y una de las muchas imágenes de la feminidad que le adquirió el Estado a través de los premios

Woman Painting by the Sea
Oil on panel. Ca. 1882
Palmaroli y González, Vicente
Woman Painting by the Sea
Oil on panel. Ca. 1882
Palmaroli y González, Vicente

A woman paints energetically à plein air in a fashionable resort on the Normandy coast. Although it cannot be ruled out that this is a portrait of a real woman artist, the ambiguous characterisation would distance it from the conventions used to depict male painters by both Palmaroli and the artists of his closest circle.

Vase of Flowers
Oil on canvas. 1694 - 1700
Belvedere, Andrea
Vase of Flowers
Oil on canvas. 1694 - 1700
Belvedere, Andrea

Towards the edges of two moulded stone shelves rest two bronze vases with broad decorated bases and slender stems embraced, in one case by a group of tritons (P550) and, in the other by, a group of minute cherubs that support the upper section like dynamic Atlanteans (P549). These bases bear prodigious bouquets that are skilfully arranged with contrasting textures and colours that generate a marve

The Genius of Painting
Oil on canvas. Ca. 1650
Mehus, Lieven
The Genius of Painting
Oil on canvas. Ca. 1650
Mehus, Lieven

Born in Flanders, Livio Mehus moved to Milan at a young age and is thus often considered an artist of the Italian school. He is recorded in Rome at the age of fourteen and later in Florence, Lucca and around Genoa. He also worked successively in Piamonte and Lombardy. There is ample documentation of his activity as a painter of frescoes and oils, an expert on northern Italian painting and a restor

The 12th Marchioness of Villafranca painting her Husband
Oil on canvas. 1804
Goya y Lucientes, Francisco de
The 12th Marchioness of Villafranca painting her Husband
Oil on canvas. 1804
Goya y Lucientes, Francisco de

María Tomasa Palafox (1780-1835), Marchioness of Villafranca, is shown wearing a white empire-style dress and sitting on a red silk damask armchair, with her feet on a cushion. She is painting a portrait of her husband, Francisco de Borja Álvarez de Toledo y Gonzaga, XI Marquis of Villafranca. The Marchioness received an enlightened education from her mother, the Countess of Montijo.

Mountain Pass (Jaraba de Aragón)
Oil on canvas. Ca. 1872
Haes, Carlos de
Mountain Pass (Jaraba de Aragón)
Oil on canvas. Ca. 1872
Haes, Carlos de

This work shows a setting on the outskirts of the town of Jaraba, bordering the province of Guadalajara at the southeastern edge of the province of Zaragoza in the Mesa River Cañon between Jaraba and Calmarza. It was painted by Carlos de Haes on his way to the Monasterio de Piedra, one of his favorite places to paint landscapes after he discovered it in the summer of 1856. He had been invit

Self-Portrait
Oil on unlined canvas. 1795
Goya y Lucientes, Francisco de
Self-Portrait
Oil on unlined canvas. 1795
Goya y Lucientes, Francisco de

This Self-Portrait’s small size indicates that it was intended for private and intimate use, as a gift to someone of interest to Goya. It came from the heirs of Tomás de Berganza, a butler to the Duke and Duchess of Alba who continued in the Duchess’s service after the Duke’s death. This provenance fueled a mid-19th-century romantic legend about Goya’s involvement with the Duchess, as the w

Self-Portrait
Oil on canvas. 1815
Goya y Lucientes, Francisco de
Self-Portrait
Oil on canvas. 1815
Goya y Lucientes, Francisco de

Goya deliberately presents himself here as vulnerable and fragile, revealing the most serene and welcoming facet of his personality. A dark background painted with rapid, energetic crossing brushstrokes adds presence to his reddish-brown frock coat, which contrasts with his very white, open-necked shirt, both of which are painted with finer brushstrokes than the background. This technique, in the

And They Still Say Fish Is Expensive!
Oil on canvas. 1894
Sorolla y Bastida, Joaquín
And They Still Say Fish Is Expensive!
Oil on canvas. 1894
Sorolla y Bastida, Joaquín

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 Monkey Painter
Oil on panel. Ca. 1660
Teniers The Younger, David
The Monkey Painter
Oil on panel. Ca. 1660
Teniers The Younger, David

The teacher at this money school punishes one of the students while another seems to be interceding on his behalf. Behind, the rest of the students look on in fear from their tables. This is a criticism of the bad social attitudes whose stupidity and lack of rational thought is symbolized here by monkeys. Teniers dealt with this matter on several occasions. In the present example, he is clearly cr

The Painter Francisco de Goya
Oil on canvas. 1826
López Portaña, Vicente
The Painter Francisco de Goya
Oil on canvas. 1826
López Portaña, Vicente

In 1826, Francisco de Goya made a rapid visit to Madrid from his exile in Bordeaux to see to his pension as chamber painter. Valencian master Vicente López Portaña took advantage of that visit to paint his likeness, creating what is undoubtedly the most emblematic portrait of the Aragonese artist. The work was made for the Royal Museum as homage and recognition of Goya’s stature, ins

Self-Portrait (¿?)
Oil on canvas. 1600 - 1610
Borgianni, Orazio (Attributed To)
Self-Portrait (¿?)
Oil on canvas. 1600 - 1610
Borgianni, Orazio (Attributed To)

This work was registered with the number 227 in the 1794 inventory of paintings at the country estate of the Duke of el Arco (a part of the testament of Charles III), where it was identified as a portrait of painter Juan Bautista Martínez del Mazo. The 1920 painting catalog of the Museo del Prado lists it, instead, as a self-portrait by Esteban March but the inclusion in Dibujos españ

Saint Luke
Oil on canvas. Ca. 1778
Bayeu, Francisco
Saint Luke
Oil on canvas. Ca. 1778
Bayeu, Francisco

This is a sketch for one of the frescoes on the gospel side of the Royal Chapel at the Royal Palace of Aranjuez. The frescoes were painted in 1778–79 around the theme of Saint Luke Painting the Virgin. The figure of Saint Luke is depicted in the central part of the composition. Meanwhile, on his right, there is an unfinished easel painting of the Virgin with Child, as is characteristic in the icon

The painter’s study
Oil on canvas. 1888
León y Escosura, Ignacio
The painter’s study
Oil on canvas. 1888
León y Escosura, Ignacio

The artist, a disciple of Federico de Madrazo and a renowned painter of small works on historical subjects, presents his studio in Paris. He portrays himself in the room at the back, painting a character dressed in fashionable Seventeenth-Century attire. León y Escosura was also a major collector and antiquarian, and splendid works of art adorn the room: besides the ancient and modern paint

Vase of Flowers
Oil on canvas. 1694 - 1700
Belvedere, Andrea
Vase of Flowers
Oil on canvas. 1694 - 1700
Belvedere, Andrea

Towards the edges of two moulded stone shelves rest two bronze vases with broad decorated bases and slender stems embraced, in one case by a group of tritons (P550) and, in the other by, a group of minute cherubs that support the upper section like dynamic Atlanteans (P549). These bases bear prodigious bouquets that are skilfully arranged with contrasting textures and colours that generate a marve

A Model, Holding a Stereoscopic Viewer, in Cecilio Pla’s Studio
Gelatin / collodion on glass plaque. 1905 - 1908
Anonymous
A Model, Holding a Stereoscopic Viewer, in Cecilio Pla’s Studio
Gelatin / collodion on glass plaque. 1905 - 1908
Anonymous

The model, wearing a richly embroidered dress, tries to insert – or perhaps remove – a plate into a stereoscopic viewer. In the foreground there is a table, which enhances the depth of the image, and a tray containing a jug, glasses and some documents. Behind the young woman is an armchair and an easel with the painting covered. In the background, next to a mirror and other pictures, is the painti

Cecilio Pla in his Studio with Rosario Guerrero
Gelatin / collodion on cardboard, photographic paper. 1890 - 1895
Anonymous
Cecilio Pla in his Studio with Rosario Guerrero
Gelatin / collodion on cardboard, photographic paper. 1890 - 1895
Anonymous

A young Cecilio Pla is photographed in his studio with Rosario Guerrero, a prominent dancer known as ‘beautiful Guerrero’ or ‘la Guerrerito’. The painter looks at the viewer while the young woman appears pensive.On the easel, on an embroidered cloth, a portrait of Wagner can be seen [information provided by Pedro J. Martínez Plaza]. Cecilio Pla was a devout Wagnerian who painted other portr

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