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Palm Grove (Elche)
Oil on paper attached to cardboard. Ca. 1861
Haes, Carlos de
Palm Grove (Elche)
Oil on paper attached to cardboard. Ca. 1861
Haes, Carlos de

En una composición horizontal, favorecida por el propio formato del soporte, se plasma una llanura con un desnivel en el centro del terreno en el que junto a un bosque de palmeras se alza un aljibe para el riego de los cercanos frutales que se insinúan a la derecha. Entre este palmeral sobresalen cinco ejemplares que con sus altos tronco enlazan y funden las dos franjas horizontales en que está cl

Christ between the Virgin Mary and Saint John the Baptist
Oil on paper, panel. 1510 - 1520
Gossaert, Jan (Jean Gossart, Also Called Mabuse)
Christ between the Virgin Mary and Saint John the Baptist
Oil on paper, panel. 1510 - 1520
Gossaert, Jan (Jean Gossart, Also Called Mabuse)

Christ is presented as the Savior of the World, blessing humankind, between Saint John and the Virgin, who turn towards him. The three figures are shown three-quarters under arches with a complex gothic tracery. In the center is a circular skylight with a singing angel leaning out. This is a free copy of the same figures in the polyptych of the Mystic Lamb by Jan and Hubert van Eyck from the Cathe

Cardinal Borja
Oil on canvas. Ca. 1721
Procaccini, Andrea
Cardinal Borja
Oil on canvas. Ca. 1721
Procaccini, Andrea

A portrait of Cardinal Carlos de Borja Cetellas Ponce de León (1664-1733), son of the IX Duke of Gandia. He was one of the most influential personages in Spain during the first half of the eighteenth century and Felipe V´s Main Chaplain. He wears the garb of a Cardinal, with his left hand on the biretta that rests on a red velvet pillow on a table at the right of the composition. On t

Philip IV
Oil on canvas. 1623
Velázquez, Diego Rodríguez de Silva y
Philip IV
Oil on canvas. 1623
Velázquez, Diego Rodríguez de Silva y

We see King Philip IV of Spain (r. 1621-1665) when he was around twenty years old in an austere image filled with references to his status and responsibilities and to the reformist intentions with which he began his reign. The sword on whose hilt his left hand rests and the desk bearing a top allude to the administration of justice and the defense of his kingdoms. The Golden Fleece hanging at his

Still Life with Chocolate Service
Oil on canvas. 1770
Meléndez, Luis Egidio
Still Life with Chocolate Service
Oil on canvas. 1770
Meléndez, Luis Egidio

When describing the work of this prolific painter of still lifes, it is frequently said that Luis Meléndez included only commonplace objects in his canvases; this painting, in fact, offers the exception that proves the rule. Amid the various objects represented here are a porcelain cup and large saucer, or plate, which seem to be East Asian rather than Spanish. Indeed, they may be Cantonese

The Surrender of Breda
Oil on canvas. Ca. 1635
Velázquez, Diego Rodríguez de Silva y
The Surrender of Breda
Oil on canvas. Ca. 1635
Velázquez, Diego Rodríguez de Silva y

On June 5, 1625 the Dutch governor of Breda, Justinus van Nassau, surrendered the keys of that city to Ambrosio Spínola, the Genoese general commanding the Spanish tercios (a group of soldiers that included pikemen, swordsmen and musketeers) of Flanders. Breda`s extraordinary strategic importance made it one of the most disputed cities in the Spanish monarchy`s prolonged war against the Uni

Kitchen Still Life
Oil on canvas. Ca. 1664
Cerezo, Mateo
Kitchen Still Life
Oil on canvas. Ca. 1664
Cerezo, Mateo

A profusion of cooking utensils and hearty meats -game birds fresh from the hunt and not yet dressed, a recently-killed lamb, a calf’s head, and other cuts- are laid out on a work surface, as if the painter had found them thus in a kitchen, awaiting the preparation of a meal. The apparent disorderly informality of the painting’s composition gives it an air of immediacy and lifelikeness, but is in

The Drunkard
Oil on cardboard. Ca. 1835
Alenza, Leonardo
The Drunkard
Oil on cardboard. Ca. 1835
Alenza, Leonardo

Célebre por sus escenas de género inspiradas en las obras de Teniers y de Wouwerman que pudo ver en el Museo del Prado, Alenza está considerado como el gran narrador de las costumbres de las clases más pobres y marginadas de la sociedad de Madrid, que retrata con un sentido crítico cercano a Goya. A pesar de su reducido tamaño, esta obra ejemplifica magníficamente ese tipo de pintura dentro de la

Portrait of a Man
Oil on canvas. Ca. 1800
Opie, John
Portrait of a Man
Oil on canvas. Ca. 1800
Opie, John

Opie depicts his elegant sitter dressed in the fashion of the day and holding a rolled up paper that may be a plan in his right hand. Located in the immediate foreground, the figure stands out strongly against the dark ground, conveying a marked sensation of reality.

Infante Don Carlos
Oil on canvas. 1626 - 1627
Velázquez, Diego Rodríguez de Silva y
Infante Don Carlos
Oil on canvas. 1626 - 1627
Velázquez, Diego Rodríguez de Silva y

Following his appointment as painter to the King in 1623, Velázquez`s principal task was that of portraying the monarch and his circle. In order to do so he primarily made use of two different typologies: bust-length and full-length portraits, in which the sitters are represented standing and close to the picture plane. Among the characteristics that define the latter group are a limited ch

Palm Threes at Elche
Oil on cardboard. Ca. 1861
Haes, Carlos de
Palm Threes at Elche
Oil on cardboard. Ca. 1861
Haes, Carlos de

Sobre una explanada, arbustos cobijados por un pequeño promontorio. A la derecha, una construcción, semejante a un aljibe, y detrás, gran extensión de árboles frutales entre los que sobresalen los altos troncos de las palmeras, a la izquierda diseminadas y a la derecha en un bosque más compacto. Fondo montañoso difuminado cuyas cimas se coronan por brumas y nubes bajas en un cielo que torna limpio

Philip IV on Horseback
Oil on canvas. Ca. 1635
Velázquez, Diego Rodríguez de Silva y
Philip IV on Horseback
Oil on canvas. Ca. 1635
Velázquez, Diego Rodríguez de Silva y

Of the equestrian portraits painted for the Hall of Realms, this is the only one with a declaration of authorship. The lower left corner has been a customary place throughout the history of painting for the artist´s signature, and here it bears a sheet of paper. And yet, contrary to our expectations, it is blank. This is the painter´s way of telling the viewer that the originality of his style and

Diptych with 42 Monumental Views of Spanish Cities
Oil on paper, panel, tin plate. 1835 - 1839
Pérez Villaamil y Duguet, Genaro
Diptych with 42 Monumental Views of Spanish Cities
Oil on paper, panel, tin plate. 1835 - 1839
Pérez Villaamil y Duguet, Genaro

Genaro Pérez Villaamil (El Ferrol, 1807-Madrid, 1854) can be considered the most significant and influential Spanish Romantic landscape painter and an artist who had an intense interest, characteristic of that period, in depictions of cities and their monuments.The small size of the tin plates on which theses scenes are painted allowed Villaamil to work from the motif, as he generally did w

Landscape, El Pardo
Oil on cardboard on panel. 1910 - 1911
Beruete, Aureliano de
Landscape, El Pardo
Oil on cardboard on panel. 1910 - 1911
Beruete, Aureliano de

Still Life with Partridges, Onions, Garlic and Vessels
Oil on canvas. Last third of the XVIII century
Meléndez, Luis Egidio
Still Life with Partridges, Onions, Garlic and Vessels
Oil on canvas. Last third of the XVIII century
Meléndez, Luis Egidio

Hunting subjects are rare in Meléndez's work. Here, two multicolored partridges are the composition's main theme. Alongside them, in the foreground, are two cloves of garlic, some paper packages and the onions. In the middle ground, two Alcorcón-style earthenware bowls hold three crockery plates with poppy decorations, probably from Talavera or Puente del Arzobispo. The painter's customary method

Saint James the Greater
Oil on canvas. 1631
Ribera, Jusepe de, lo Spagnoletto
Saint James the Greater
Oil on canvas. 1631
Ribera, Jusepe de, lo Spagnoletto

This work was, until recently, believed to depict Saint James. This was largely due to its description, by Friar Francisco de los Santos in his Descripción breve del Monasterio de S. Lorenzo el Real del Escorial (1657). However, Friar Francisco de los Santos also noted that the apostle is not represented according to customary iconography, for he is depicted in the manner he would have dres

Mountain Pass (Jaraba de Aragón)
Oil on canvas. Ca. 1872
Haes, Carlos de
Mountain Pass (Jaraba de Aragón)
Oil on canvas. Ca. 1872
Haes, Carlos de

This work shows a setting on the outskirts of the town of Jaraba, bordering the province of Guadalajara at the southeastern edge of the province of Zaragoza in the Mesa River Cañon between Jaraba and Calmarza. It was painted by Carlos de Haes on his way to the Monasterio de Piedra, one of his favorite places to paint landscapes after he discovered it in the summer of 1856. He had been invit

Tomás de Iriarte
Oil on canvas. Ca. 1785
Inza, Joaquín
Tomás de Iriarte
Oil on canvas. Ca. 1785
Inza, Joaquín

An in-depth study of Joaquín Inza is yet to be conducted that would allow us to gauge his role and importance in the panorama of Spanish art in the second half of the eighteenth century. Inza is known for his portraits of the royal family and of aristocrats and intellectuals from the period, and is now regarded as an estimable and discrete painter with a precise, austere style, although som

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