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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 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 [+]
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 [+]
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 [+]
Executed as an exercise in anatomy, this drawing dates from the end of the painter’s formative period in Rome and displays the firm, well-defined strokes of a more mature artist. The light, artificial [+]
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 [+]
The Provincial Council of Barcelona sent Fortuny to Morocco to compile graphic information for subsequent paintings on the most notable achievements in the Spanish-Moroccan War, in which Catalan volun [+]
El objeto representado en este dibujo, que en algún momento debió de atraer el interés de Fortuny, ha de valorarse en el contexto de su faceta coleccionista. Aunque no aparezca en la testamentaría ni [+]
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 [+]
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 [+]
During his stay at Portici, Fortuny became good friends with the Neapolitan sculptor Gemito, who made a terra cotta portrait of him. Taking as a basis this striking, highly lifelike work, the French f [+]
Fortuny was exceptionally skilled in printmaking techniques. Following his initial use of lithography in 1857, in the 1860s he produced a remarkable series of etchings that can be considered one of hi [+]
Fortuny was exceptionally skilled in printmaking techniques. Following his initial use of lithography in 1857, in the 1860s he produced a remarkable series of etchings that can be considered one of hi [+]
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