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Isabel de Valois holding a Portrait of Philip II
Oil on canvas. 1561 - 1565
Anguissola, Sofonisba
Isabel de Valois holding a Portrait of Philip II
Oil on canvas. 1561 - 1565
Anguissola, Sofonisba

This portrait is a full-length likeness of Philip II’s third wife, Queen Isabel de Valois. She wears a black gown with pointed sleeves and a long train that is curled around her body and billows at th [+]

The Painter's Children in the Japanese Room
Oil on canvas. 1874
Fortuny, Mariano
The Painter's Children in the Japanese Room
Oil on canvas. 1874
Fortuny, Mariano

Fortuny’s sudden death left this painting unfinished, yet it remains one of his finest pieces, and the maximum expression of the audacious pictorial modernity that characterizes his mature work.The tw [+]

Infanta Isabel Clara Eugenia and Magdalena Ruiz
Oil on canvas. 1585 - 1588
Sánchez Coello, Alonso
Infanta Isabel Clara Eugenia and Magdalena Ruiz
Oil on canvas. 1585 - 1588
Sánchez Coello, Alonso

Alonso Sánchez Coello was court painter to Philip II and he united two different pictorial styles developed in the mid sixteenth century by Titian and Anthonis Mor respectively. Sánchez [+]

Those specks of dusts
Red wash, Red chalk on silk paper. Ca. 1797
Goya y Lucientes, Francisco de
Those specks of dusts
Red wash, Red chalk on silk paper. Ca. 1797
Goya y Lucientes, Francisco de

In 1811, the liberal Antonio Puigblanch published in Cadiz The Inquisition Unmasked, in which he interpreted this scene as a criticism of the avarice of the inquisitors. Goya here takes the side of th [+]

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 st [+]

The Infanta María Luisa of Bourbon and Saxony
Pastel on paper. 1763
Tiepolo, Lorenzo
The Infanta María Luisa of Bourbon and Saxony
Pastel on paper. 1763
Tiepolo, Lorenzo

Smiling with a direct, vivacious expression, the Infanta faces the viewer in this half-length portrait. She wears ermine robes cheerfully adorned with silk at the neck and a fur cap. A parrot perches [+]

But if he broke the pitcher
Red chalk on silk paper. Ca. 1797
Goya y Lucientes, Francisco de
But if he broke the pitcher
Red chalk on silk paper. Ca. 1797
Goya y Lucientes, Francisco de

Preparatory drawing for Capricho 25. Enlightenment intellectuals saw education as the basis for their social reforms. Goya offers eloquent examples of this concept in the numerous Caprichos that illus [+]

Mummy’s Boy
Black chalk lines, Red chalk on silk paper. Ca. 1797
Goya y Lucientes, Francisco de
Mummy’s Boy
Black chalk lines, Red chalk on silk paper. Ca. 1797
Goya y Lucientes, Francisco de

Preparatory drawing for Capricho 4, Mummy´s Boy (G01931, G02092). Its colour and the fact that it did not cover the surface of the paper particularly well made red chalk unsuitable for dark scenes. Th [+]

Sketch of the ground floor and elevations of Evangelical Spanish Church, Madrid
Pencil on silk paper. 1879 - 1880
Madrazo y Kuntz, Juan de
Sketch of the ground floor and elevations of Evangelical Spanish Church, Madrid
Pencil on silk paper. 1879 - 1880
Madrazo y Kuntz, Juan de

Drawing of Juan de Madrazo’s architectural offer to design the first evangelical Spanish church in 1880. In the 19th century, there arises on the part of the Anglican Community the need to execute a c [+]

The elevation for the Evangelical Spanish Church, Madrid
Pencil on silk paper. 1879 - 1880
Madrazo y Kuntz, Juan de
The elevation for the Evangelical Spanish Church, Madrid
Pencil on silk paper. 1879 - 1880
Madrazo y Kuntz, Juan de

Drawing of Juan de Madrazo’s architectural offer to design the first evangelical Spanish church in 1880. In the 19th century, there arises on the part of the Anglican Community the need to execute a c [+]

The elevation for the Evangelical Spanish Church, Madrid
Pencil, Grey wash, Grey-brown wash on silk paper. 1879 - 1880
Madrazo y Kuntz, Juan de
The elevation for the Evangelical Spanish Church, Madrid
Pencil, Grey wash, Grey-brown wash on silk paper. 1879 - 1880
Madrazo y Kuntz, Juan de

Drawing of Juan de Madrazo’s architectural offer to design the first evangelical Spanish church in 1880. In the 19th century, there arises on the part of the Anglican Community the need to execute a c [+]

Man helping a young woman undress
Red wash, Red chalk on silk paper. Ca. 1797
Goya y Lucientes, Francisco de
Man helping a young woman undress
Red wash, Red chalk on silk paper. Ca. 1797
Goya y Lucientes, Francisco de

This drawing was not printed in the Caprichos series. It is related to a drawing from the Madrid Album, with a composition almost identical to this one (sheet B, 79 " She has a shortage of getting nak [+]

Cover plan and outline of the ground floor of Evangelical Spanish Church, Madrid
Pencil on silk paper. 1879 - 1880
Madrazo y Kuntz, Juan de
Cover plan and outline of the ground floor of Evangelical Spanish Church, Madrid
Pencil on silk paper. 1879 - 1880
Madrazo y Kuntz, Juan de

Drawing of Juan de Madrazo’s architectural offer to design the first evangelical Spanish church in 1880. In the 19th century, there arises on the part of the Anglican Community the need to execute a c [+]

Love and Death
Red wash, Red chalk on silk paper. 1797 - 1798
Goya y Lucientes, Francisco de
Love and Death
Red wash, Red chalk on silk paper. 1797 - 1798
Goya y Lucientes, Francisco de

Preliminary drawing for Capricho 10. Goya used this drawing when devising Capricho 10, Love and Death. A griefstricken woman cradles the body of her lover, who has been mortally wounded in a duel, as [+]

Might not the pupil know more?
Red chalk on silk paper. Ca. 1797
Goya y Lucientes, Francisco de
Might not the pupil know more?
Red chalk on silk paper. Ca. 1797
Goya y Lucientes, Francisco de

The donkey is symbolic of ignorance. Goya here denounces miseducation through his criticism of a teaching system predicated on the incompetence of the teachers and the ineptitude of the students. The [+]

They Are Hotheaded
Black chalk, Red wash on silk paper. Ca. 1797
Goya y Lucientes, Francisco de
They Are Hotheaded
Black chalk, Red wash on silk paper. Ca. 1797
Goya y Lucientes, Francisco de

Preliminary drawing for Capricho 13. In some cases, Goya subsequently made another drawing that exactly coincided with the final composition, defining its outlines and the dark areas with a brush. By [+]

Because She Was Susceptible
Red wash, Red chalk on silk paper. 1797 - 1798
Goya y Lucientes, Francisco de
Because She Was Susceptible
Red wash, Red chalk on silk paper. 1797 - 1798
Goya y Lucientes, Francisco de

Preliminary drawing for Capricho 32. The title of the Capricho on which this drawing is based, Because She Was Susceptible, explains the reason for the subject’s unhappy and unmerited situation. Her " [+]

There they go plucked
Red wash on silk paper. Ca. 1797
Goya y Lucientes, Francisco de
There they go plucked
Red wash on silk paper. Ca. 1797
Goya y Lucientes, Francisco de

Goya used the drawing in Album A of a young woman sweeping to design this complex scene of a brothel, which is also preparatory work for an etching for the Caprichos. The first contemporary comments w [+]

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