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Pietà
Oil on panel. 1565 - 1570
Morales, Luis de
Pietà
Oil on panel. 1565 - 1570
Morales, Luis de

Large-format versions of the Virgin holding the dead body of Christ, like those at Badajoz Cathedral and at the Real Academia de Bellas Artes de San Fernando, gave way in Morales’s oeuvre to smaller compositions on the same subject, with half-length figures shown on a striking background of rigorous black. Against this, the two figures and the upright of the cross are contrasted with strong lighti

Fantasy on Faust
Oil on canvas. 1866
Fortuny, Mariano
Fantasy on Faust
Oil on canvas. 1866
Fortuny, Mariano

In this work, Fortuny establishes an eloquent link between painting and music and a clear exposition of what his friend, the Baron Davillier, called his very lively and very pure taste in music. Fortuny depicts one of the musical evenings that he attended in Madrid during the summer of 1866 at his friend and former classmate, Catalan painter Francisco Sans y Cabot’s studio at no. 13, calle Flor Ba

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

Still Life with Flowers, a Silver-gilt Goblet, Dried Fruit, Sweetmeats, Bread sticks, Wine and a Pewter Pitcher
Oil on panel. 1611
Peeters, Clara
Still Life with Flowers, a Silver-gilt Goblet, Dried Fruit, Sweetmeats, Bread sticks, Wine and a Pewter Pitcher
Oil on panel. 1611
Peeters, Clara

It has often been stated that this painting is part of a series of four, all now in the Prado, but that is probably not the case. The dimensions of all four paintings (P1619, P1620, P1621, P1622) are similar, but their provenance is not. This, and Table with Cloth, Salt Cellar, Gilt Standing Cup, Pie, Jug, Porcelain Plate with Olives and Cooked Fowl (P1622), are first documented when they were inv

La Torre de las Damas in the Alhambra, Granada
Oil on canvas. 1871
Rico y Ortega, Martín
La Torre de las Damas in the Alhambra, Granada
Oil on canvas. 1871
Rico y Ortega, Martín

This work was painted at a very important moment in Rico’s career, a period spent in direct contact with Fortuny in Granada in 1871 and 1872. He move there towards the end of 1870, but he was already familiar with that city from a stay in 1857 while painting in Sierra Nevada. On November 18 of that year, Fortuny wrote a letter inviting Rico to join him and his brother-in-law, Ricardo de Madrazo. A

The Miniaturist Teresa Nicolau Parody
Oil on canvas. Ca. 1844
López Portaña, Vicente
The Miniaturist Teresa Nicolau Parody
Oil on canvas. Ca. 1844
López Portaña, Vicente

As Goya had done with Rosario Weiss, Vicente López undertook to train another of the foremost artists of Spanish Romanticism, the miniaturist Teresa Nicolau. These portraits evince their great respect and appreciation for each other. The court painter depicted his pupil in a three-quarter bust with a white lace mantilla, and although by then she had already been made a member of the Academy

The Angler
Oil on canvas. 1775
Goya y Lucientes, Francisco de
The Angler
Oil on canvas. 1775
Goya y Lucientes, Francisco de

In this work, Goya represented two different country activities. The background shows hunters, but the foreground has a boy fishing in a river, which gives this work its title. This was a cartoon for one of the tapestries in the Prince and Princess of Asturias´ dining room at El Escorial. In it, the artist resolves the relation of the different planes with greater freedom than in other examp

Saint Stephen / The Imposition of the Chasuble on Saint Ildephonsus
Oil on panel. 1559
Correa de Vivar, Juan
Saint Stephen / The Imposition of the Chasuble on Saint Ildephonsus
Oil on panel. 1559
Correa de Vivar, Juan

The Museo del Prado’s collections include an important group of paintings by Juan de Correa de Vivar, an artist based in Toledo who must have been born at the beginning of the 16th century in the town of Mascaraque and died in the Imperial City in 1566. In total, these are nearly forty works from the former Museo Nacional de la Trinidad. Like many other 16th-century Spanish religious painters, Cor

Saint Lawrence / Saint Hilary
Oil on panel. 1559
Correa de Vivar, Juan
Saint Lawrence / Saint Hilary
Oil on panel. 1559
Correa de Vivar, Juan

The Museo del Prado’s collections include an important group of paintings by Juan de Correa de Vivar, an artist based in Toledo who must have been born at the beginning of the 16th century in the town of Mascaraque and died in the Imperial City in 1566. In total, these are nearly forty works from the former Museo Nacional de la Trinidad. Like many other 16th-century Spanish religious painters, Cor

Altarpiece of the Annunciation
Oil on panel. 1559
Correa de Vivar, Juan
Altarpiece of the Annunciation
Oil on panel. 1559
Correa de Vivar, Juan

The Museo del Prado’s collections include an important group of paintings by Juan de Correa de Vivar, an artist based in Toledo who must have been born at the beginning of the 16th century in the town of Mascaraque and died in the Imperial City in 1566. In total, these are nearly forty works from the former Museo Nacional de la Trinidad. Like many other 16th-century Spanish religious painters, Cor

Masquerade
Oil on panel. 1767
Paret y Alcázar, Luis
Masquerade
Oil on panel. 1767
Paret y Alcázar, Luis

This painting, prepared by Paret in an excellent drawing (British Museum in London, inv. 1890,1209.50) and titled Baile in máscara (The Masked Ball), on a cartouche as a kind of label, is one of the earliest known works by the artist. It demonstrates great technical and compositional skill in arranging a subtly illuminated interior filled with a multitude of figures. The varied dress, poses

Apparition of the Angels to Saint Jerome
Oil on canvas. 1602 - 1603
Albani, Francesco
Apparition of the Angels to Saint Jerome
Oil on canvas. 1602 - 1603
Albani, Francesco

This painting entered the royal collection during the reign of Charles IV, King of Spain. In his inventory of the Casita del Principe (Cottage of the Prince) in El Escorial, it is registered as a work by Lucio Massari. This attribution also appears in the inventory of Ferdinand VII, King of Spain, in Palacio Real Nuevo, where it was located in 1814. However, in the Real Museo’s inventory of 1857,

The Painter and Engraver José Zanetti
Pencil on dark yellow paper. 1842
Madrazo y Kuntz, Federico de
The Painter and Engraver José Zanetti
Pencil on dark yellow paper. 1842
Madrazo y Kuntz, Federico de

Retrato de José María Zanetti, oriundo de Zaragoza y activo en Roma hacia 1817, donde se encontraba pensionado por Carlos Miguel, XIV duque de Alba, tomando clases en la Academia de San Lucas. Así lo atestiguó el secretario de esta, Giuseppe Antonio Guattani y el pintor Domenico Conti Bazzani (1740/1742-1818), quien solicitó que se le remitiera su pasaporte como ciudadano español, enviando sendos

Two figures lifting an Urn; and male head
Black chalk, White lead, Wash on paper. Second half of the XVI century
Anonymous
Two figures lifting an Urn; and male head
Black chalk, White lead, Wash on paper. Second half of the XVI century
Anonymous

The group appears between a pair of columns on the right of Taddeo´s fresco of the "Last Supper" in the church of S. Maria della Consolazione, Rome.

The Assumption of the Virgin
Pencil, Grey wash, Grey-brown ink on dark yellow paper. Mid-XVIIIcentury
Kuntz, Thaddëus
The Assumption of the Virgin
Pencil, Grey wash, Grey-brown ink on dark yellow paper. Mid-XVIIIcentury
Kuntz, Thaddëus

En la parte inferior los apóstoles se agrupan alrededor del sepulcro vacío de la Virgen, uno arrodillado en primer término alza la cabeza y otro tras él extiende los brazos. En la parte superior la Virgen sentada sobre nubes, unos angelitos llevan su manto y otros sostienen las nubes.El dibujo, muy concluido, de mediados del siglo XVIII, está relacionado con el estilo de Thaddäus Kuntz y los model

St. John the Evangelist
Pencil, Grey-brown ink, Wash on yellow paper. Second third of the XVI century
Bertoia
St. John the Evangelist
Pencil, Grey-brown ink, Wash on yellow paper. Second third of the XVI century
Bertoia

Carderera probably accepted the old attribution to the Pellegrino Tibaldi (1527-1596), who had spent almost a decade in Spain at the end of his life, mostly working at El Escorial, and was an important influence on Late Mannerism in Spain. The attribution to Bertoia is here proposed on stylistic grounds. A particularly striking comparison may be made between the present drawing and Bertoia´s pen-a

Saints Luke and John
Pencil, Pencil ground, Grey-brown ink on yellow paper. XVI century
Anonymous
Saints Luke and John
Pencil, Pencil ground, Grey-brown ink on yellow paper. XVI century
Anonymous

In a nineteenth-century inscription and in further annotations on the reverse, the drawing is given to the Sienese Domenico Beccafumi (1484-1551). In 1980, in a pencil note on the mount, Anna Forlani rightly pointed out that it is near to Vasari. However, the feeble execution points to a copy rather than to an original by the master.

Altarpiece of Saint John of God
Pencil, Grey-brown wash on yellow laid paper. 1653 - 1657
Cano, Alonso
Altarpiece of Saint John of God
Pencil, Grey-brown wash on yellow laid paper. 1653 - 1657
Cano, Alonso

In the bottom section, the tabernacle is flanked by two scenes: Saint John distributing alms in the company of an angel, and Saint John washing Christ’s feet. The middle section has an image of the Virgin dressing flanked by Saint Raphael and the Sacred Hospice. The top section has the traditional Calvary and two thick cartouches, one with the emblem of Saint John: the pomegranate and the cross.

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