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The Garden of Earthly Delights Triptych
Grisaille, Oil on oak panel. 1490 - 1500
Bosch, Hieronymus
The Garden of Earthly Delights Triptych
Grisaille, Oil on oak panel. 1490 - 1500
Bosch, Hieronymus

The Garden of Earthly Delights is Bosch’s most complex and enigmatic creation. For Falkenburg the overall theme of The Garden of Earthly Delights is the fate of humanity, as in The Haywain (P02052), although Bosch visualizes this concept very differently and in a much more explicit manner in the centre panel of that triptych than in The Garden of Earthly Delights. In order to analyse the work’s me

Fake Architectural Mouldings and Ornaments, with Allegorical Figures and Flowers
Tempera, Mural painting on wall covering. 1835
Martínez Salamanca y Costa, Francisco
Fake Architectural Mouldings and Ornaments, with Allegorical Figures and Flowers
Tempera, Mural painting on wall covering. 1835
Martínez Salamanca y Costa, Francisco

From the time of the Museum’s founding this small room was part of the private area known as Their Majesties’ Rest Room (now Room 39). Similar to those existing in other Bourbon palaces, it housed the King’s lavatory. Despite its late date, 1834, the walls and ceiling of this room were decorated in the Neoclassical style by Francisco Martínez.

Conjugal row
Grey-brown wash on ivory paper, laid paper. 1812 - 1823
Goya y Lucientes, Francisco de
Conjugal row
Grey-brown wash on ivory paper, laid paper. 1812 - 1823
Goya y Lucientes, Francisco de

Created in the tumultuous years of the war, Sketchbook F offers a set of drawings marked by cruelty. Among the most heartrending of these is this unequal struggle between a man and a woman, by means of which Goya demonstrates his capacity to depict the essence of gender violence. The somber atmosphere of the bedroom and the lights cast on the bodies dressed in their nightgowns show the movement of

The Enema
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de
The Enema
Pencil on laid paper. 1824 - 1828
Goya y Lucientes, Francisco de

Bordeaux Sketchbook [H], sheet 42. Once again Goya makes use of an enema, as in Capricho 58, Swallow That, Dog. The manuscript commentary in the Prado on that print states: "he who lives among men will be irredeemably syringed". While in that image it was monks of various orders about to administer the enema to the terrified victim, here they are three women -young, mature, and old- who laugh as t

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