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Aline Masson with a White Mantilla
Oil on canvas. Ca. 1875
Madrazo y Garreta, Raimundo de
Aline Masson with a White Mantilla
Oil on canvas. Ca. 1875
Madrazo y Garreta, Raimundo de

A portrait of Aline Masson, Madrazo´s favorite model and the esthetic ideal of femininity in late-nineteenth-century bourgeois Paris. The white mantilla over a red embroidered shawl and the flowers in her hair link this work to the nineteenth-century French taste for Spanish things, a detail Madrazo emphasized in many of his works. This painting entered the Prado Museum as part of the Ramón

The Meadow of San Isidro
Oil on unlined canvas. 1788
Goya y Lucientes, Francisco de
The Meadow of San Isidro
Oil on unlined canvas. 1788
Goya y Lucientes, Francisco de

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

La Tirana
Oil on canvas. Ca. 1875
Casado del Alisal, José
La Tirana
Oil on canvas. Ca. 1875
Casado del Alisal, José

This painting features a young and attractive “Manola” [woman of the people, particularly in Madrid] reminiscent of the famous actress nicknamed “the Tyrant” portrayed by Goya. Slightly recumbent on a finely-carved couch, she is wearing a striking blue gold-embroidered short jacket. The picture is highly charged with sensuality and eroticism, embodied through her languid gaze, her gesture of cover

The Miniaturist Teresa Nicolau Parody
Oil on canvas. Ca. 1844
López Portaña, Vicente
The Miniaturist Teresa Nicolau Parody
Oil on canvas. Ca. 1844
López Portaña, Vicente

As Goya had done with Rosario Weiss, Vicente López undertook to train another of the foremost artists of Spanish Romanticism, the miniaturist Teresa Nicolau. These portraits evince their great respect and appreciation for each other. The court painter depicted his pupil in a three-quarter bust with a white lace mantilla, and although by then she had already been made a member of the Academy

Feliciana Bayeu, the Painter's Daughter
Oil on canvas. 1787
Bayeu, Francisco
Feliciana Bayeu, the Painter's Daughter
Oil on canvas. 1787
Bayeu, Francisco

Francisco Bayeu worked as a court painter to Charles III from 1767; by 1787 -the date of this small portrait- he had produced a considerable number of decorations for the royal palaces and important churches. He reached the zenith of his brilliant career as an official painter and academician around this time, being named Director of Painting at the Royal Academy of Fine Arts of San Fernando in 17

María Dolores Aldama, Marchioness of Montelo
Oil on canvas. 1855
Madrazo y Kuntz, Federico de
María Dolores Aldama, Marchioness of Montelo
Oil on canvas. 1855
Madrazo y Kuntz, Federico de

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 full, domed skirt. Her hair is smoothed and parted, with braids wound around her ears and gathered in the back, held in place with a large, bejewelled pin and lace frill. She wears, at her neckline, a

Still-Life
Oil on canvas. Ca. 1630
Burgos Mantilla, Francisco de
Still-Life
Oil on canvas. Ca. 1630
Burgos Mantilla, Francisco de

This work shows a thistle, chestnuts and a conical white-wine glass of the type known as Humpen, with raised concentric vitreous rings on the outer surface.

Carolina Coronado
Oil on canvas. Ca. 1855
Madrazo y Kuntz, Federico de
Carolina Coronado
Oil on canvas. Ca. 1855
Madrazo y Kuntz, Federico de

The writer Carolina Coronado (1820-1911) was a leading Romantic poet and a staunch advocate of education for women. Her sensitive, melancholy nature is conveyed here with delicate precision. The meticulous draughtsmanship reflects Madrazo’s academic training, whilst the beautiful black tones of the shawl, like the austere palette, recall the traditions of seventeenthcentury Spanish painting.

A Gypsy
Oil on canvas. 1872
Madrazo y Garreta, Raimundo de
A Gypsy
Oil on canvas. 1872
Madrazo y Garreta, Raimundo de

Sobre un fondo cerúleo, de ejecución rápida y desenvuelta, destaca la figura de una gitana de medio cuerpo. Como corresponde al estereotipo racial femenino, es de rostro ovalado, labios carnosos, cabello negro ensortijado y grandes ojos negros. Cubre su talle un mantón rojo, floreado, y una mantilla negra que deja caer sobre sus brazos. Como aderezo, unos claveles en su pelo, zarcillos colgantes y

Before the Wedding
Oil on canvas. 1882
Muñoz Degrain, Antonio
Before the Wedding
Oil on canvas. 1882
Muñoz Degrain, Antonio

A very beautiful study of Isabel de Segura, the protagonist of the nineteenth-century legend of The Lovers of Teruel, which was dramatized in verse by Hartzenbusch. The bride, prepared to marry Rodrigo de Azara, the spouse her father chose for her, wears an expression of profound sadness and desperation at not being able to marry her true love, Diego de Marsilla. The modernity of Muñoz Degr

Woman from Madrid
Oil on canvas. Ca. 1913
Zuloaga y Zabaleta, Ignacio
Woman from Madrid
Oil on canvas. Ca. 1913
Zuloaga y Zabaleta, Ignacio

Dressed for attending the bullfight, with a white mantilla and hair comb and holding a large fan, the subject looks defiantly at the viewer. The expressivity of the face and intensity of the gaze make this female portrait one of Zuloaga’s finest works from this period.

Queen María Luisa in a Mantilla
Oil on canvas. 1799 - 1800
Esteve, Agustín
Queen María Luisa in a Mantilla
Oil on canvas. 1799 - 1800
Esteve, Agustín

A month after giving her approval to the portrait Goya had painted of her in a mantilla in September 1799, Queen Maria Luisa wrote to Manuel Godoy, “I want you to have a copy made by Esteve”. Indeed, Esteve painted several replicas of official portraits of the monarchs for official institutions. This earned him his appointment as court painter in June 1800. The present copy is from Godoy’s collect

Royal Couples
Oil on canvas. 1770
Paret y Alcázar, Luis
Royal Couples
Oil on canvas. 1770
Paret y Alcázar, Luis

This canvas depicts an equestrian event that took place at the Palace of Aranjuez in 1770. It was attended by Charles III and Princess María Luisa, his daughter-in-law, who are to be seen in the second box adjoining the palace façade, and by a crowd of subtly individualised figures. On horseback at the forefront of the pairs of riders are Prince Carlos and the Infantes Gabriel and Lu

Mrs Delicado de Imaz
Oil on canvas. Ca. 1836
López Portaña, Vicente
Mrs Delicado de Imaz
Oil on canvas. Ca. 1836
López Portaña, Vicente

The lady depicted here, around 50 years of age, is represented slightly greater than half-length, seated on a chair upholstered in green cloth, with a striking cashmere shawl of vivid colours lying on one of its arms. She is wearing a dark blue velvet dress with a lace mantilla covering her shoulders. Richly bejewelled, she wears a magnificent bracelet and a ring on her right hand, in which she is

Asunción Castro Crespo, wife of the painter
Oil on canvas. 1914
Simonet Lombardo, Enrique
Asunción Castro Crespo, wife of the painter
Oil on canvas. 1914
Simonet Lombardo, Enrique

En los primeros meses de 1914, cuando su esposa estaba embarazada de su hijo Bernardo, que nació el 20 de marzo en Madrid, el pintor realizó este retrato que la representa con mantilla. Seguía con ello una moda habitual en los retratos femeninos desde el siglo XIX, que se hizo muy frecuente en las primeras décadas del XX. El pintor recurrió a menudo a su esposa para que le sirviera de modelo, como

Portrait of a Lady
Oil on canvas. Ca. 1815
Esteve, Agustín
Portrait of a Lady
Oil on canvas. Ca. 1815
Esteve, Agustín

This female effigy was once attributed to the Andalusian artist José Gutiérrez de la Vega (Seville, 1791–Madrid, 1865) who worked in the pictorial tradition of Murillo. However, this claim became untenable from a formal point of view after analysing the aesthetic and technical characteristics of the piece, and in 1999 the work was given its current attribution. The painting depicts a

The Family of Carlos IV
Oil on canvas. 1800
Goya y Lucientes, Francisco de
The Family of Carlos IV
Oil on canvas. 1800
Goya y Lucientes, Francisco de

This portrait of the family of King Carlos IV (1748-1819) was painted in Aranjuez and Madrid in the spring and summer of 1800, shortly after Goya was named First Chamber Painter. It clearly show´s the artist´s mastery at individualizing characters. The forerunners to this complex composition are Louis-Michel van Loo´s Portrait of Felipe V and his Family (P02283) and Velázquez´s Las Meninas

The Old Women are filled with laughter because they know he hasn’t a penny
Brush, Pencil, Indian ink wash, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
The Old Women are filled with laughter because they know he hasn’t a penny
Brush, Pencil, Indian ink wash, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 5, Two of a Kind (G02093) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos in the first stage of its creation. 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 being courted by a gentleman whil

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