The itinerary <em>TITULORECORRIDO</em> has been successfully created. Now you can add in works from the Collection browser
<em>TITULOOBRA</em> added to <em>TITULORECORRIDO</em> itinerary

Search

Explore the collection

Refine results
6 results
Queen Joan the Mad on the Ramparts of the Castle of La Mota
Oil on canvas. 1876
Pradilla y Ortiz, Francisco
Queen Joan the Mad on the Ramparts of the Castle of La Mota
Oil on canvas. 1876
Pradilla y Ortiz, Francisco

This small, sketchily painted canvas depicts one of the scenes that Pradilla rejected for his celebrated painting of Joan the Mad (P04584). It narrates an episode from the life of the Queen of Castile when, frustrated by the failure of her journey to Flanders to join her husband, she leant out over the ramparts of the famous castle to the alarm of her attendants

Self-portrait
Oil on canvas. 1918
Pradilla y Ortiz, Francisco
Self-portrait
Oil on canvas. 1918
Pradilla y Ortiz, Francisco

Se trata del último autorretrato realizado por Pradilla de los cinco que se conocen. El que inicia la serie es propiedad de la Academia Española de Roma y fue pintado por su autor durante la época de pensionado. Le siguen tres muy próximos en su ejecución. El de menor formato pertenece a la colección del Museo Nacional de Bellas Artes de Buenos Aires y lo donó Don Ángel Roverano en 1910. Un poco m

Queen Juana La Loca confined at Tordesillas with her daughter, the Infanta Catalina
Oil on canvas. 1906
Pradilla y Ortiz, Francisco
Queen Juana La Loca confined at Tordesillas with her daughter, the Infanta Catalina
Oil on canvas. 1906
Pradilla y Ortiz, Francisco

In keeping with his interest in Queen Juana “la Loca,” Pradilla painted this painting of the queen´s confinement in Tordesillas Castle, where she spent the rest of her life alongside the cadaver of her husband. Juana sits besides a window in a palace room with a Gothic fireplace. Lost in thought, she gazes at the viewer without noticing her daughter´s play. A lady in waiting and a servent on the r

The Baptismal procession of Prince Juan, son of the Catholic Kings, through the streets of Seville
Oil on canvas. 1910
Pradilla y Ortiz, Francisco
The Baptismal procession of Prince Juan, son of the Catholic Kings, through the streets of Seville
Oil on canvas. 1910
Pradilla y Ortiz, Francisco

This painting depicts the baptism of Prince Juan. It is based on the description of that event from Historia de los Reyes Católicos (History of the Catholic Kings) by Andrés Bernáldez, published in 1856. The documentary rigor of this text is transferred to the canvas, so we can speak here of the archeological veracity with which Pradilla reconstructed that historical event. Th

Queen Joanna the Mad before the Tomb of her Husband, Philip the Handsome (sketch)
Oil on canvas. 1877
Pradilla y Ortiz, Francisco
Queen Joanna the Mad before the Tomb of her Husband, Philip the Handsome (sketch)
Oil on canvas. 1877
Pradilla y Ortiz, Francisco

This is the most mature and refined of the numerous preparatory sketches that culminated in the final picture displayed in this room, which sealed its artist’s reputation. It is dedicated to the history painter José Casado del Alisal, director of the Academy of Spain in Rome while Pradilla was working on the painting.

Queen Joanna the Mad
Oil on canvas. 1877
Pradilla y Ortiz, Francisco
Queen Joanna the Mad
Oil on canvas. 1877
Pradilla y Ortiz, Francisco

Padilla painted this, his absolute masterpiece, at the age of twenty-nine, and it directly led to his international fame as an artist. It is the most superb visual presentation of a subject with which he was obsessed throughout his life and in its capacity to sum up all of the ingredients of its genre, it may well surpass all other 19th-century history paintings. In effect, the canvas offers the m

Up