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This canvas was displayed on the ceiling of the Salon Rouge of the Duke and Duchess of Riánsares’ Paris mansion. The decoration of this hall, which was designed to receive visitors, glorified M [+]
Fortuny enjoyed painting flowers in bloom in his scenes. Attracted by their colours, he also made separate studies of them. His favourites were hollyhocks on account of their pleasing hues and the ele [+]
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Fortuny featured groups of hens in a number of his compositions, as their dynamism, texture and luxuriant colours enriched and enlivened his works. This painting, however, is a study in its own right [+]
Fortuny’s predilection for beautifully colored and very carefully painted panels is perfectly exemplified by the present work, which reveals his mastery of tableautin, a type of painting that garnered [+]
This work bears exceptional witness to the concurrence of Fortuny’s painting with that of his close friend, Raimundo de Madrazo. Begun by the former, it was completed after his death by the latter wit [+]
Fortuny produces a faithful interpretation of Jusepe de Ribera’s painting in the Museo del Prado, though his attention is focused exclusively on capturing the effects of the light on an elderly man’s [+]
The sketch, almost schematic character of this composition makes this one of the most attractive bullfighting scenes ever painted by Fortuny. It offers a panoramic view of a bullring -probably in Madr [+]
Shortly before Mariano Fortuny concluded the second year of the pension he had received from the Regional Government of Barcelona in 1858 to complete his studies in Rome, that same institution commiss [+]
Visible behind the foreground rocks which attract the viewer’s attention are the bay of Naples in the distance and, closer at hand, the cluster of houses of the neighbouring town of Portici with the d [+]
Fortuny was particularly interested in the human types who were part of Rome’s urban landscape. Prominent among them were these Capuchin friars dressed in the characteristic brown tunic and long cloak [+]
In the summer of 1874, Fortuny found the Tyrrhenian sea to be a constant stimulus for painting outdoors. The cobalt-blue of the expanse of water is the predominant feature of this seascape, depicted f [+]
This watercolor offers a profile view -similar to a low relief- of a child or young faun sitting on a fragment of an Ionic entablature with egg-and-dart decorations above an astragal. The slender, nud [+]
This watercolour is part of a group of works Fortuny painted shortly before returning to Rome in 1868 using the people around him as models. María Teresa was the only child born of the marriage [+]
In the summer of 1874 Fortuny settled in a seaside villa in Portici, near Naples, where he painted several landscapes and seascapes that show his interest in the study of painting from life. This inte [+]
Fortuny made an ample number of copies of famous paintings, some as late as the end of the 1860s. They reveal his interest in deepening his knowledge of the painting of the great masters, especially V [+]
This work is a typical example of the watercolours Fortuny produced in his Roman studio during winter and early spring afternoons and evenings. In them he painted Arab subjects based on free interpret [+]
This drawing shows Fortuny’s fondness for the architecture and winding alleyways of the Albaicín, one of Granada’s landmark districts. The narrowness of the streets provided the painter with an [+]
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