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Gypsy Family, Palencia
Oil on canvas. 1925
Echevarría Zuricalday, Juan de
Gypsy Family, Palencia
Oil on canvas. 1925
Echevarría Zuricalday, Juan de

Echevarría was inspired by the rural heritage of Spain’s gypsy people in the early decades of the 20th century, finding alternative themes and subjects to those of the urban, bourgeois culture inherited from the 19th century. Executed in a geometrical idiom with bright, random colours, this canvas reveals the artist’s complete assimilation of the European Post-impressionist models which he

God Bids Us Forgive!
Oil on canvas. 1895
García Sampedro, Luis
God Bids Us Forgive!
Oil on canvas. 1895
García Sampedro, Luis

Taking its cue from serialised fiction, the work narrates the return to her father’s home of a girl and her daughter, the fruit of an extra-marital relationship. Kneeling, she implores clemency from her father, whose anger is placated by a priest who reminds him of the duty to forgive. The emotional strength of the painting won it an award at the 1895 National Exhibition, whose jury chose to ignor

The Garden of Earthly Delights Triptych
Grisaille, Oil on oak panel. 1490 - 1500
Bosch, Hieronymus
The Garden of Earthly Delights Triptych
Grisaille, Oil on oak panel. 1490 - 1500
Bosch, Hieronymus

The Garden of Earthly Delights is Bosch’s most complex and enigmatic creation. For Falkenburg the overall theme of The Garden of Earthly Delights is the fate of humanity, as in The Haywain (P02052), although Bosch visualizes this concept very differently and in a much more explicit manner in the centre panel of that triptych than in The Garden of Earthly Delights. In order to analyse the work’s me

Roman Charity
Oil on canvas. 1851
Palmerola, Ignacio
Roman Charity
Oil on canvas. 1851
Palmerola, Ignacio

La mujer romana Peru, recién parida, alimentó con su leche materna a su padre Cimón, condenado a morir de hambre en la cárcel. Esta pieza participó en la Exposición Nacional de Bellas Artes de 1856 (n. 153) en la que obtuvo una Mención de Honor.

Roman Charity
Oil on canvas. 1620 - 1630
Crayer, Gaspar de
Roman Charity
Oil on canvas. 1620 - 1630
Crayer, Gaspar de

Roman Charity
Oil on canvas. XVII century
Anonymous
Roman Charity
Oil on canvas. XVII century
Anonymous

Charity
Oil on panel. 1550 - 1560
Portelli, Carlo
Charity
Oil on panel. 1550 - 1560
Portelli, Carlo

This Charity, one of the most important works by the Tuscan painter Portelli, derives from a work on the same subject by Francesco Salviati (1510-1563) now in the Uffizi, Florence, emulating its composition, brilliant colours and detailed finish. It was acquired by Charles IV.

Charity
Oil on canvas. First half of the XVII century
Bianchi, Isidoro
Charity
Oil on canvas. First half of the XVII century
Bianchi, Isidoro

Charity
Oil on canvas. XVII century
Reni, Guido (Copy After)
Charity
Oil on canvas. XVII century
Reni, Guido (Copy After)

Charity
Oil on canvas. XVII century
Dyck, Anthony Van (Workshop Of)
Charity
Oil on canvas. XVII century
Dyck, Anthony Van (Workshop Of)

The Botanical Garden seen from the Paseo del Prado
Oil on panel. 1792 - 1799
Paret y Alcázar, Luis
The Botanical Garden seen from the Paseo del Prado
Oil on panel. 1792 - 1799
Paret y Alcázar, Luis

This composition, that appears unfinished in the lower left corner, was very successful, as six replicas and contemporary copies are known to exist. Paret presents the Botanical Gardens as the backdrop, along with one of the doors designed by Francisco Sabatini in 1781. The Paseo del Prado occupies a broad space filled with a richly garbed crowd that walks and rides carriages. Here, the painter fr

Brothers
Oil on canvas. Ca. 1919
Espagnat, Georges D'
Brothers
Oil on canvas. Ca. 1919
Espagnat, Georges D'

Phalaena
Oil on canvas. 1920
Verger Fioretti, Carlos
Phalaena
Oil on canvas. 1920
Verger Fioretti, Carlos

The term phalaena, a moth with a thin body and broad delicate wings that comes out at night and is fatally attracted to fire, is here associated with the women who offered to escort men at elegant coteries. At the table in the foreground, a mature man observes one of them, who in turn engages the viewer with a troubling expression.

Sacrificing Interest
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de
Sacrificing Interest
Pencil, Iron gall ink on laid paper. 1796 - 1797
Goya y Lucientes, Francisco de

This preparatory drawing for the etching Capricho 14, What a Sacrifice! (G02102) is part of The Dreams, a series of twenty-six pen-and-ink drawings that serve as the basis for the Caprichos. Headed by Dream 1. The Author Dreaming, which became number 43 in the definitive and expanded Caprichos. The subject matter was common in that period as dreams were used to represent the world from the perspec

Trust
Red chalk, Red wash on laid paper, continuous paper. 1797 - 1798
Goya y Lucientes, Francisco de
Trust
Red chalk, Red wash on laid paper, continuous paper. 1797 - 1798
Goya y Lucientes, Francisco de

In Goya´s drawings, padlocks are a recurrent symbol of closed minds. Also, in the literature of the time, a padlock shutting a mouth was frequently used to express a lack of critical judgment, or the submission of women, often sexual related, with the use of chastity belts. Goya´s handwritten title alludes to the falsehood of a trust that is not based on reciprocal sincerity but on mutual prohibit

There are amours here too
Brush, Pencil, Grey-brown ink, Wash on laid paper, continuous red paper. 1814 - 1823
Goya y Lucientes, Francisco de
There are amours here too
Brush, Pencil, Grey-brown ink, Wash on laid paper, continuous red paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

Conjugal row
Grey-brown wash on ivory paper, laid paper. 1812 - 1823
Goya y Lucientes, Francisco de
Conjugal row
Grey-brown wash on ivory paper, laid paper. 1812 - 1823
Goya y Lucientes, Francisco de

Created in the tumultuous years of the war, Sketchbook F offers a set of drawings marked by cruelty. Among the most heartrending of these is this unequal struggle between a man and a woman, by means of which Goya demonstrates his capacity to depict the essence of gender violence. The somber atmosphere of the bedroom and the lights cast on the bodies dressed in their nightgowns show the movement of

Nothing matters to us
Brush, Pencil, Grey-brown ink, Iron gall ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de
Nothing matters to us
Brush, Pencil, Grey-brown ink, Iron gall ink, Wash on laid paper. 1814 - 1823
Goya y Lucientes, Francisco de

Goya’s Album C exemplifies the complexity of his work. Made during the Peninsular War and the posterior repression under the reign of Ferdinand VII, it addresses subjects linked to many facets of that period. Other authors believe this album extends through the years of the Liberal Triennium (1820-23), as they see a relation between some of its drawings and the joy associated with the restoration

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