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Goya never actually painted the cartoon for this scene, which is one of his masterpieces, and the most popular of a series intended for the bedroom of the infantas in Madrid's El Pardo Palace. The project was suspended following the death of Carlos III. Here, the painter manages to capture the sensation of life and the hustle and bustle of a crowd sitting in the meadow. The landscape opens onto th
This gallant scene in French Rococo style is adapted to Spanish tastes, with the characters dressed in the traditional Madrid fashion as majos and majas. In front of a fountain of Venus and Cupid, two ladies converse, while a third is approached by a majo. The bow and quiver with arrows allude to the darts of love that, according to classical mythology, Cupid would shoot. At the left of the compos
Elegantly dressed nobles with swords, capes and sunshades join the lower-class majos and majas on the banks of the river Manzanares and indulge in gambling, dancing and fishing. This is a sketch for a cartoon for a tapestry to decorate the apartments of the Prince and Princess of Asturias at the Palace of El Pardo.
This work is a preparatory sketch for a tapestry of extraordinary dimensions -nearly eight metres in length and over three metres tall- intended for the bedchamber of the Prince and Princess of Asturias in the royal palace of El Pardo. José del Castillo, a student of Corrado Giaquinto in Rome and Madrid, joined the group of painters working for the Royal Tapestry Manufactory in 1765 on the
La obra corresponde al primer periodo pictórico de Théo Van Rysselberghe, en el que los pintores que más admiraba constituían su guía para la realización de sus obras. Entre ellos se encontraban su profesor Portaels, los hermanos Stevens, el veterano Gillaume Vogels cofundador del círculo de Los XX y sobre todo el pintor americano James Abbott Mc-Neil Whistler, al cual había conocido en 1884 con m
Two woodcutters with their axes are cutting the branches of a tree while a third, seen from behind, collects the wood. The format of this cartoon indicates that it was designed for an over-window and is thus the pair to Majo with a Guitar (P-743). Goya creates a spiral composition with the three figures, whose different postures and attitudes liven up this realistic, everyday genre scene. This car
Benito Soriano Murillo (1827-1891) was an artist and deputy director of the Museo del Prado. He shared Raimundo de Madrazo and his family’s love of music, referred to by the guitar and piano. The elegant pose, characteristic of the French tradition that Madrazo assimilated in Paris, coexists here with the influence of Spanish portraiture and the style of the artist’s father, Federico de Madrazo.
The effect of the majo’s singing and playing is evident in the profound emotion on the face of the woman in the foreground, reflecting the refined sentimentality to which art of this period aspired. This canvas is a close copy of a preparatory sketch by Francisco Bayeu, Ramón’s brother, which was subsequently included in the work Thirteen Preparatory Designs for Cartoons for Tapestries, als
This is a cartoon for a tapestry to be hung over a window, with the figure of a Majo playing the guitar and a background of landscape with three other people. The resulting tapestry was intended for the entry to the bedroom of the Prince and Princess of Asturias (the future Carlos IV and his wife, Maria Luisa de Parma) at the El Pardo Palace in Madrid. Goya's activity as a painter of tapestry cart
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
The central motif of this work is the blind singer who travels to cities and towns, spreading the news, generally of a tragic or lurid character. Goya depicts the emotions — from interest to fascination— his message generates among the men, women and children looking on. According to Goya, the elegant gentleman in this cartoon was a foreigner. The painter also included unusual characters, such as
This altarpiece consists of nine large panels plus the eighteen that make up the predella. The main scene is The Virgin with the Christ Child surrounded by Angel Musicians, which is completed with five scenes from the lives of Christ and the Virgin in the right and central areas, and three scenes from the life of Saint Francis, in the left area. All of them are framed with gothic ogee tracery. Sty
This scene of a family in a garden is a rare example of a group portrait in Spanish 17th-century art. Its uniqueness is explained by the fact that it was painted by a Flemish artist based in Madrid, who also included his self-portrait looking out of a window. Despite the appearance of everyday normality, the unknown sitters are surrounded by a wide range of symbols that refer to the virtues of fam
This tapestry cartoon represents a popular scene of Majos and Majas dancing Seguidillas on the banks of Madrid´s Manzanares River. In the background, Goya painted the area around the Pontones Bridge, near la Quinta del Sordo, the land and house he bought in 1819. The resultant tapestry was intended to hang in the dining room of the Prince and Princess of Asturias (the future Carlos IV and hi
A cartoon for the tapestry to be hung in the Prince of Asturias´s quarters at the El Pardo Palace. Two Majos appear at the center of the composition, playing characteristic 18th-century Spanish narrow-wasted popular guitars with five double strings (as indicated by their ten visible tuning pegs). Baroque guitars had five double strings, but around 1760 another pair was added, although both t
Domina la composición un gran paisaje de invierno, identificable tanto por lo inerte de la vegetación como por la nieve que cubre montes y valles o la que sigue cayendo. La acción en sí misma también orienta sobre la fecha, pues lo que representa es a los pastores que acuden a adorar al Niño Jesús en los días cercanos al solsticio de invierno. Son hombres y mujeres que llevan regalos en cestas y s
David appears with Goliath´s head. Four women occupy the right side of the composition, one dancing with a tambourine and the other three accompanying her with singing and, at the right end of the canvas, a baroque guitar. The figure next to the guitarist appears to be looking attentively at the score, which is nonetheless partially covered by the instrumentalist´s arm. The third leans
An altarpiece with Bible stories of the life of Saint John the Baptist. At the top, Salome dances for Herod, king of Galilee, in order to ask for Saint John´s head as recompense (Mark 6, 21-28). That martyrdom occupies the scene just below. The last scene depicts the moment when Saint John is buried by his disciples (Mark 6, 29). It also shows a posthumous miracle. The three figures on the predell
