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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 [+]
Saint Joseph grasps Jesus’s arm to prevent him from taking fruit from the basket. This action is loaded with meaning, given the sacrificial and Eucharistic significance of both the Child’s violet tuni [+]
Sorolla was the most gifted Spanish painter of his generation, excelling in portraiture. In the early years of the twentieth century, and especially after the encouragement of winning the Grand Prize [+]
After the death of Velázquez, Carreño showed himself to be the artist most worthy of continuing the depiction of monsters, jesters, and dwarves that inhabited the Spanish court. Inventor [+]
Herrera Barnuevo was Charles II`s court painter, executing portraits of him between 1667 and 1671. These images include numerous elements referring to the young monarch`s royal status. Here various pu [+]
In the courts of Spain´s nobility, the sixteenthcentury fascination with oddities of the natural world persisted into the seventeenth and was manifested in, among other things, an interest in people w [+]
This work shows politician, poet, playwright and tutor to Queen Elizabeth II, Manuel José Quntana (Madrid, April 11, 1772- Madrid, March 11, 1857) on the day of his coronation in the Senate as [+]
Preparatory drawing for the etching Capricho 13. They are Hot (G02101). This work is one of twenty-six pen drawings that make up the Dreams series on which the Caprichos were based. Both the prelimina [+]
Capricho 14, What a Sacrifice! is part of The Caprichos. The subject matter was common in that period as dreams were used to represent the world from the perspective of the artist’s imagination withou [+]
Capricho 4, Mummy´s Boy (El de la rollona). The word rollona used in the title refers to a strong, plump woman and was only used in the expression “el niño de la rollona”, which appears in vari [+]
Prueba de estado de la estampa G02114 (1aedición). 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 cabez [+]
Printer’s proof prior to the first edition Capricho 4, Mummy´s Boy (El de la rollona), before the replacement of the letter “y” with “ll” in “rollona”. Etching and burnished aquatint The word rollona [+]
Caprichos, 70, Devout profession. The harsh criticism set out by the artist in these images, which he ironically titled Devout profession, to openly reveal the scene’s meaning, is directed against ign [+]
Capricho 19. The satirical tone that Goya employs in the Caprichos in which he criticises prostitution is applied to both the girls and their clients, the latter depicted as plucked chickens. The arti [+]
Capricho 66, There it goes is part of The Carpichos. The subject matter was common in representations of that period. The preparatory drawing’s composition shows a witch riding on a mischievous devil, [+]
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 [+]
Capricho 7, Even thus he cannot make her out is part of The Caprichos. The subject matter—social criticism—was a useful tool for both the artist and other members of the Enlightenment, and its intenti [+]
