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Christ shown to the People / The Virgin and Child
Oil on panel. Ca. 1500
Anonymous
Christ shown to the People / The Virgin and Child
Oil on panel. Ca. 1500
Anonymous

Christ shown to the People is an unfinished painting that allows for the direct study of the pictorial process, specifically the underlying drawing. It is a work in progress for which the first stages of execution (preparation of the support and preliminary drawing) have been completed. The painting stage has begun and reaches different degrees of completion depending on the figure in question. Th

Self-portrait
Oil on canvas. Ca. 1856
Esquivel y Rivas, Carlos María
Self-portrait
Oil on canvas. Ca. 1856
Esquivel y Rivas, Carlos María

Availing himself of trompe l’oeil, the painter portrays himself at the age of 26 in an oval-shaped painting placed on a table surrounded by various items alluding to the theory and practice of the arts: a palette with brushes, a plaster cast of a female torso, several scrolls, an inkwell, books... Particularly noteworthy, because it is open, is the Treatise on Pictorial Anatomy –whose manuscript i

Museo del Prado, View of the Main Gallery (Graphoscope)
Albumen on photographic paper, fabric / weave. 1882 - 1883
Laurent y Minier, Juan
Museo del Prado, View of the Main Gallery (Graphoscope)
Albumen on photographic paper, fabric / weave. 1882 - 1883
Laurent y Minier, Juan

On 24 February 1882, Alfonso Roswag y Nogier, the son-in-law of Jean Laurent and his partner in the firm J. Laurent y Cía., filed a patent application for a device called "the Graphoscope or revolving apparatus applicable to all types of views and advertisement-signs". Its purpose was "to place inside a box or cabinet, of small size, a relatively considerable series of views or advertisemen

Copy of a Statue of a Nude Woman Seen from the Rear
Pencil, Grey-brown ink on yellow paper. XVI century
Passerotti, Bartolomeo (Attributed To)
Copy of a Statue of a Nude Woman Seen from the Rear
Pencil, Grey-brown ink on yellow paper. XVI century
Passerotti, Bartolomeo (Attributed To)

The model was presumably a bronze statuette, or a plaster cast from such a statuette. To gain proficiency in drawing the human figure artists frequently taught their pupils from such casts and models. On the reverse is another study of the same statue, seen from the same viewpoint, but drawn three-quarter length.

The Visitation
Plaster. Before 1886
Samsó, Juan
The Visitation
Plaster. Before 1886
Samsó, Juan

Life-size plaster group of The Visitation, which had already been completed in 1886. It is a composition closely related to The Visitation of 1867 painted by Overbeck - a painting preserved today in Spoleto. Unlike most of the Visitations, in which Saint Elizabeth is old and represents herself in an attitude of respect before the Virgin, in these two cases it is presented as an almost equal to equ

Our Lady of Covadonga
Plaster. 1908
Samsó, Juan
Our Lady of Covadonga
Plaster. 1908
Samsó, Juan

This work is the plaster model of Our Lady of Covadonga, made for the Covadonga Basilica.The final sculptural group was made of polychrome wood adorned with rhinestones. She presents a formal relationship between mother and child, since the relationship between the two figures is not maternal. The Child blesses in the manner of the taste of Cuattrocento. The definitive sculpture is located in its

The Nymph Eurydice, Bitten by a Viper
Marble. 1865
Medina y Peñar, Sabino de
The Nymph Eurydice, Bitten by a Viper
Marble. 1865
Medina y Peñar, Sabino de

Eurydice, wife of the musician and poet Orpheus, was bitten by a viper and died of the wound. Her expression here, however, conveys no pain; she seems to be playing with the snake rather than receiving a fatal bite. In view of its classical style and perfect construction, this is widely considered Medina´s finest work. It was made in plaster in 1836, when Medina was training in Rome, and he

Athena
White marble. Early I century
Roman Sculptor
Athena
White marble. Early I century
Roman Sculptor

This is a Roman copy of a statue of Athena, created between 450 and 440 B. C. by the Greek sculptor Myron, together with the figure of Marsyas. Installed on the Acropolis of Athens, between the Propyleus and the Parthenon, the original bronze group represented Athena who was angered by the attitude of the Marsyas who was shown in the attitude of picking up the double flute which she had rejected a

The Blossoming of Love
Carrara marble. 1905
Blay y Fábrega, Miguel
The Blossoming of Love
Carrara marble. 1905
Blay y Fábrega, Miguel

A representation of the first amorous encounter of a youthful couple. In a style some have called lyrical, Blay transmits the soft warmth of adolescent figures modeled with exceptional realism. They are seated on a group of boulders alongside a tree trunk bearing leaves and flowers. The scene of tender intimacy is very beautiful and intensely emotional.The subject is somewhat linked to the innocen

Venus and Mars
Marble. 1820 - 1830
Canova, Antonio (Circle Of)
Venus and Mars
Marble. 1820 - 1830
Canova, Antonio (Circle Of)

The Marquess of Salamanca sold Venus and Mars by Antonio Canova (1757-1822) to the Museo del Prado in 1881. At the time of acquisition, its attribution had been maintained for decades, but when Pavanello was cataloguing all of Canova’s work in 1976, he considered it a copy. While focusing on Canova’s workshop, Reyero thought the piece could have been made in the 1820s by someone in Canova’s inner

Nude Girl (from The Onset of Winter)
Carrara marble. 1892
Blay y Fábrega, Miguel
Nude Girl (from The Onset of Winter)
Carrara marble. 1892
Blay y Fábrega, Miguel

Blay customarily made versions of fragments of his works, which he handled separately. This sculpture at the Museo del Prado is a fragment from the group titled The Onset of Winter. During his stay in Rome in 1892, Blay made a terracotta model of an old man and a girl, both dressed, suffering the rigors of winter. For the expanded version, he tested nude figures to see if they would be more expres

Dante in Thought
Plaster. 1864
Suñol y Pujol, Jerónimo
Dante in Thought
Plaster. 1864
Suñol y Pujol, Jerónimo

Los escultores españoles, en su gran mayoría, buscaron fuentes de inspiración en Italia, durante sus estancias en este país, en muchos casos pensionados por diferentes corporaciones. Suñol bebió de las fuentes clásicas y renacentistas y culminó su producción realista con una excepcional interpretación de la figura de Dante (1265-1321). Esta obra, un claro ejemplo de las influencias recibidas duran

To the Ideal
Plaster. 1896
Blay y Fábrega, Miguel
To the Ideal
Plaster. 1896
Blay y Fábrega, Miguel

Blay made this extremely delicate and highly idealized sculptural group to show that he was capable of creating works outside of the strictures of realism. As he put it: “I plan to call it White Souls, two predestined souls that reach their goal, moving forward resolutely, overcoming setbacks and wanting neither to feel the thorns on which they walk nor to pay heed to the stumbling blocks they enc

The penitent Saint Jerome
Bronze. 1844
Piquer y Duart, José
The penitent Saint Jerome
Bronze. 1844
Piquer y Duart, José

This work´s conception -Saint Jerome listening to the trumpets of the Last Judgement- stems from Piquer´s trip to Paris in 1840. That is where he made the plaster original in 1842. Once cast in bronze, this group was widely admired for its ties to Spanish tradition, including certain Baroque elements that added to its expressive power. Considered his best-known work, and a referent for Romantic sc

Nero and Seneca
Plaster. 1904
Barrón González, Eduardo
Nero and Seneca
Plaster. 1904
Barrón González, Eduardo

Nero and Seneca was awarded a first-prize medal at the National Fine Arts exhibition in Madrid in 1904. Barrón never produced a final version of it, in bronze or marble, making this preparatory plaster of unusual size particularly important. It reveals the exquisite handling, technical skills and mastery of the classical idiom that characterise his style. On loan for many years to Cordoba T

Mercury, variant on ''Hermes Andros-Farnese''
Marble. 150 - 200
Anonymous
Mercury, variant on ''Hermes Andros-Farnese''
Marble. 150 - 200
Anonymous

The ancient ephebe torso was completed in the modern era with a head that recalls portraits of Antinous, the missing limbs and a command baton, which was added as an attribute because the robe folded over his left arm was interpreted as a general´s paludamentum. he sculpture was identified as a statue of Caesar. The robe draped over the left shoulder was not originally held by the right hand

Dante in Thought
Bronze. 1908
Suñol y Pujol, Jerónimo
Dante in Thought
Bronze. 1908
Suñol y Pujol, Jerónimo

This sculpture, inspired by the work of Classical and Renaissance sculptors, is generally considered Sutiors masterpiece. It offers a realistic portrayal of Dante wearing the laurel wreath of fame and immortality, and holding a book in reference to the Latin texts in which he sought refuge. The original plaster was produced in Rome in 1864, and this bronze version was cast in 1908, at the request

Sacred Heart
Plaster. 1898 - 1901
Samsó, Juan
Sacred Heart
Plaster. 1898 - 1901
Samsó, Juan

La escayola del Sagrado Corazón de Jesús y su pareja el Sagrado Corazón de María (E1030) fueron los modelos para el encargo de la Reina Regente María Cristina, en 1898, de dos esculturas en mármol de tamaño algo mayor que el natural del Sagrado Corazón de María y del Sagrado Corazón de Jesús, destinadas a la Capilla del Palacio Real de Madrid. Concluidas y entregadas en 1901, todavía hoy se pueden

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