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In the mid-nineteenth century Federico de Madrazo produced some of the most successful portraits of the Spanish bourgeoisie during the reign of Isabel II (1833-68), presenting them with the opulence t [+]
Concepción Remisa de Moret was the wife of Segismundo Moret y Quintana, a famous nineteenth-century Spanish writer, politician and landowner whose portrait -also by Madrazo- is in the Prado Mus [+]
This portrait of the wife of the banker Henry O’Shea reveals the British influence on Madrazo’s fully romantic period. Her social position is indicated by the quality of the fabrics, laces and jewels, [+]
This young aristocrat, portrayed in three-quarter length, stands posed before the viewer wearing a magnificent black satin and velvet dress trimmed with lace and ribbons, a close-fitting bodice and a [+]
The numerous formal portraits painted by Federico over the course of his career -large-format works generally intended to hang in the capacious homes of Elizabethan aristocrats- include some of his mo [+]
Although Federico de Madrazo began working in the genre of historical painting, his gifts as an artist promptly led him to portraiture, which he cultivated in all its forms throughout his lengthy care [+]
The sitter, a Monarchist writer, an excellent horsewoman and a friend of the artist, is seated in a fine armchair, her figure brightly lit in the shadowy room. This appealing portrait has a decidedly [+]
Madrazo interprets the elegance and refinement of the French painter Jean-Auguste-Dominique Ingres with a personality of his own, especially in the sitter’s pose. The handling of the textiles - notabl [+]
