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Mariquiña de Valle-Inclán
Oil on canvas. Ca. 1928
Echevarría Zuricalday, Juan de
Mariquiña de Valle-Inclán
Oil on canvas. Ca. 1928
Echevarría Zuricalday, Juan de

This depiction of the fourth daughter of the famous Galician writer Ramón María del Valle-Inclán is a good example of the small-format portraits of close friends that so notably differ from Echevarría’s celebrated portrait gallery of representatives of the Generation of 98. The Gerstenmaier Collection still includes the portrait of Kukuru, Mariquiña’s dog, a canv

Still Life with a silver beaker and a clock
Oil on panel. 1633
Heda, Willem Claesz
Still Life with a silver beaker and a clock
Oil on panel. 1633
Heda, Willem Claesz

In addition to the Roemer goblet, other glasses common in this kind of monochrome still life presented here include the Berkemeyer, in this case tipped over and broken, and the delicate Façon-de-Venise wineglass, in fashion at the time and likewise made in the Netherlands. Also featured is an exquisitely decorated silver goblet. Alongside them is a knife with a sheath and an open clock that

The Confession
Oil on panel. Ca. 1883
Palmaroli y González, Vicente
The Confession
Oil on panel. Ca. 1883
Palmaroli y González, Vicente

The title of this work alludes to the flirting between the two characters, playing with the similarity between the basket chair and a confessional. The scene deals with one of the most frequent subjects in genre paintings from the second half of the nineteenth century: flirting and other games among the bourgeoisie. In opting for a vertical formant, the painter concentrates our attention on what i

The Duke and Duchess of Osuna and their Children
Oil on unlined canvas. 1787 - 1788
Goya y Lucientes, Francisco de
The Duke and Duchess of Osuna and their Children
Oil on unlined canvas. 1787 - 1788
Goya y Lucientes, Francisco de

A portrait of the Duke of Osuna, Pedro Téllez Girón (1755-1807); his wife, the Countess-Duchess of Benavente, Josefa Alonso de Pimentel (1752-1834) and their four children: Francisco de Borja (1785-1820), the following Duke of Osuna; Pedro de Alcántara (1786-1851), the future Prince of Anglona; Maria Manuela (1783-1838) and Joaquina (1784-1851), the future Marchioness of Santa

Maria Josepha of Saxony
Oil on canvas. Ca. 1828
López Portaña, Vicente
Maria Josepha of Saxony
Oil on canvas. Ca. 1828
López Portaña, Vicente

Retrato de María Josefa Amalia de Sajonia Borbón-Parma (Dresde, Alemania, 1803-Aranjuez, Madrid, 1829), reina consorte de España y tercera esposa (1819) del rey Fernando VII. Peinada con el cabello recogido con peineta de carey y bucles a ambos lados de la frente, luce la banda y cruz de la orden de María Luisa. La factura del retrato y la madurez del semblante de la reina, notablemente más adulto

Charles IV and his Family honoured by the University of Valencia
Oil on canvas. 1802
López Portaña, Vicente
Charles IV and his Family honoured by the University of Valencia
Oil on canvas. 1802
López Portaña, Vicente

During his visit to Valencia in 1802, the Literary University of the city gave the King this painting which shows the university, personified as a young matron, introducing the royal family to the various faculties: Theology, Law, Philosophy and Medicine. They are accompanied by the goddess Minerva, who points to Peace, Victory and Abundance, who fly over this symbolic reception.

Queen María Luisa in a Dress with hooped Skirt
Oil on canvas. Ca. 1789
Goya y Lucientes, Francisco de
Queen María Luisa in a Dress with hooped Skirt
Oil on canvas. Ca. 1789
Goya y Lucientes, Francisco de

A full-length portrait of Queen María Luis de Parma (1751-1819), wife of King Carlos IV (1748-1819), wearing a large feathered hat and French lace, with a seventeenth-century style bustle and the sort of large skirt flattened in front and back that replaced the farthingale. The only jewelry she wears is the Cruz Estrellada award. Her hand rests on a table covered with a tablecloth on which

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

Winter Landscape with Skaters
Oil on canvas. 1629
Droochsloot, Joost Cornelisz.
Winter Landscape with Skaters
Oil on canvas. 1629
Droochsloot, Joost Cornelisz.

Droochsloot was the only artist in the Utrecht school who cultivated the painting of scenes featuring winter landscapes and pastimes, a favourite genre in sixteenth -and seventeenth- century Dutch painting.This scene is not painted from nature, but draws on Flemish compositions produced by the circle of Pieter Brueghel the Elder (1525-1569), featuring large numbers of people from different social

The old-fashioned Cobbler
Oil on canvas. 1870 - 1875
Domingo Marqués, Francisco
The old-fashioned Cobbler
Oil on canvas. 1870 - 1875
Domingo Marqués, Francisco

Considered one of the finest examples of Francisco Domingo´s portraiture, this work shows an old shoemaker -an extraordinarily popular figure in the old neighborhoods of the major cities- over a neutral background. The loose brushstrokes, applied in short, juxtaposed fashion, bring out the sitter´s intense expression, managing to emphasize his face and neck despite the reduced palette. Domingo con

Gonzalo Fernández de Córdoba at the Battle of Cerignola
Oil on canvas. 1835
Madrazo y Kuntz, Federico de
Gonzalo Fernández de Córdoba at the Battle of Cerignola
Oil on canvas. 1835
Madrazo y Kuntz, Federico de

Este lienzo es una de las obras fundamentales de la pintura del Romanticismo español, así como el primer cuadro importante de este género realizado por Federico de Madrazo a lo largo de su fecundísima carrera, que dedicaría después de forma prácticamente exclusiva a la pintura de retratos. Realizado en tamaño poussinesco es decir, a un tercio del natural, siguiendo la moda académica de esos años.

Josefa Coello de Portugal
Oil on canvas. 1855
Madrazo y Kuntz, Federico de
Josefa Coello de Portugal
Oil on canvas. 1855
Madrazo y Kuntz, Federico de

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 that their social status demanded. In addition to his remarkable artistic ability, his female portraits are outstanding for their depiction of the accessories and adornments. These details are emphasis

María of Austria, Queen of Hungary
Oil on canvas. Ca. 1635
Luycks, Frans
María of Austria, Queen of Hungary
Oil on canvas. Ca. 1635
Luycks, Frans

La reina en pie, viste de traje gris con abanico en la mano izquierda; corona y cetro sobre un bufete. Doña María figura retratada de frente, mirando al espectador, ligeramente ladeado el rostro, apoyada la mano sobre una mesilla, junto a la corona imperial. El fondo uniforme y oscuro lo animan sólo los cortinajes regios, que son símbolos propios de rango con infiltraciones de escenario de teatro.

Self-portrait
Oil on canvas. 1810 - 1813
González Velázquez, Zacarías
Self-portrait
Oil on canvas. 1810 - 1813
González Velázquez, Zacarías

A member of a dynasty of artists that began with his grandfather, the sculptor Pablo González Velázquez (1664-1727), Zacarías González Velázquez initially trained with his father, the painter Antonio González Velázquez (1723-94). In 1777, he joined the Royal Academy of Fine Arts of San Fernando, an institution to which he remained tied for the rest

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

The Crucified Christ with a Donor
Oil on canvas. 1640
Zurbarán, Francisco de
The Crucified Christ with a Donor
Oil on canvas. 1640
Zurbarán, Francisco de

Francisco de Zurbarán cultivated a variety of genres over the course of his career, including still life, portraiture and history painting, but the majority of his works were religious. Many of the latter belonged to series employed in the decoration of monasteries, while others were single images for religious settings, including those he painted for private use. One of his religious subje

Antonio Ugarte and his wife, Maria Antonia Larrazábal
Oil on canvas. 1833
López Portaña, Vicente
Antonio Ugarte and his wife, Maria Antonia Larrazábal
Oil on canvas. 1833
López Portaña, Vicente

Don Antonio Ugarte, a prominent member of the entourage of Ferdinand VII, and his wife, posed for the first painter to the king, with an evident penchant for ostentation. He is wearing the full-dress uniform of the king’s secretary, including the cane and hat resting on the table, and also boasts different badges of office and honours. She, dressed in Imperial garb and adorned with splendid jewels

Dario de Regoyos Playing the Guitar
Oil on canvas mounted on panel. 1885
Rysselberghe, Theo Van
Dario de Regoyos Playing the Guitar
Oil on canvas mounted on panel. 1885
Rysselberghe, Theo Van

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

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