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The two children portrayed here were the children of the Grand Duke of Tuscany, Leopold of Habsburg –who became Emperor of the Holy Roman Empire in 1790–, and Maria Luisa of Bourbon, daughter of Charl [+]
This majestic image was part of a cycle of seven altarpieces commissioned in 1767 for the new royal church of San Pascual Bailón at Aranjuez, founded by Charles III in the same year. The altarp [+]
Sebastian was a Roman soldier who suffered martyrdom for his Christian faith during the reign of Diocletian and Maximian at the end of the third century. He was made a patron saint of the city of Rome [+]
Lucas Velázquez drew his inspiration from different sources over the course of his career. Like Alenza, he drew on Siglo de Oro and Dutch painting for some of his landscapes, whose fantastic ch [+]
Although this painting bears a curious apocryphal signature in large letters at the lower left corner of the canvas, Pérez Sanchez (1983) attributed it to Victoria in 1983 on the basis of its V [+]
This painting presents the moment when the Archangel Gabriel, holding a spray of lilies, appears to the Virgin Mary and announces that she will give birth to the Son of God. Mary is depicted kneeling [+]
The old attribution to the Mannerist painter Pellegrino Tibaldi (1527-1596) may have been suggested by the handling, with its extensive passages of white heightening, as well as the Michelangelesque f [+]
Neoclassical painter Anton Raphael Mengs spent some eleven years in Spain -from 1761 to 1769, and again from 1774 to 1777- working primarily on the decoration of Madrid’s Royal Palace for King Charles [+]
An ivory Christ with copper arms that were probably added at a later date. The cross consists of various pieces of rock crystal joined by metal rods covered with painted parchment. The clasps are of e [+]
The goddess Eirene, bearing an olive branch, personifies Peace. She is surrounded by allegories of her bounty: prosperity, plenty, the progress of all the arts represented and the rejection of arms, t [+]
A miniature Roman reproduction of the famous statue that Phidias made for the Parthenon in Athens between 447 and 438 B.C. The original was about eleven meters in height and was of gold and ivory. The [+]
Capricho 57, The filiation. In the composition, a standing man reads to a seated woman. Both wear masks. Another man scrutinizes them with a monocle while the monkey on his shoulders looks directly o [+]
Capricho 5, Two of a Kind is part of The Caprichos. The subject matter was common in depictions of that period. At first glance, the preparatory drawing might seem to be a simple genre scene—a lady be [+]
When Goya penciled his tiles on the complete set of prints that he gave to his friend, Ceán Bermúdez, each word was rigorously adapted to the composition and to the critical intentions w [+]
Disparates, 10, The Kidnapping Horse, closely resembles Folly of Fear (D04274) in its technique, with light reddish washes to define the wooded background and more intense washes for the figures. Its [+]
Capricho 63, Look how solemn they are! is part of The Caprichos. The subject matter was common in representations of that period. The composition has three figures, one of whom is being ridden by the [+]
En esta escena Goya alude a conceptos como “moza de silla”, identificado con la práctica de la prostitución, o a expresiones tales como “sentar la cabeza”, en el sentido de volverse una persona juicio [+]
Disasters of War, 63, Harvest of the Dead.Goya devoted many of the prints in the first part of The Disasters of War to scenes in which the civilian population is the innocent victim of soldiers´ exces [+]
