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By 1599, Francisco Pacheco had already begun work on his Libro de descripción de verdaderos retratos de ilustres y memorables varones (Book of Descriptions of True Portraits of Illustrious and [+]
The son of actors, Isidoro Máiquez was born in Cartagena in 1768. Supported by the Duke and Duchess of Osuna, he studied in Paris with the celebrated thespian Francisco José Talma (1763- [+]
These two miniatures belong to a series of seven on copper, unique in Goya’s oeuvre. They depict the artist’s son Javier and Javier’s in-laws on the occasion of his marriage to Gumersinda, daughter of [+]
The 1910 catalogue states that Bredius attributed this painting to Jacop Gerritsz. Cuyp (1594-1652), ascription that was officially accepted by the Museum in 1985. However, neither the typology nor th [+]
These four portraits of women, two double ones and two single ones (P02073, P02075 and P02076) presented standing and down to kneelevel, use the same architectural setting. The series is given visual [+]
Sorolla was the most gifted Spanish painter of his generation, excelling in portraiture. In the early years of the twentieth century, and especially after the encouragement of winning the Grand Prize [+]
It is not known when or how these two paintings -Saint Juan de Ribera and Saint John the Baptist (P950)- came to be the property of Luisa Enríquez, but their common provenance has never been se [+]
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Although this panel is not documented, it has been attributed to Scorel since its attribution by Hoogewerff in 1923.The artist depicts the unknown humanist half-length in front of a landscape. Scorel’ [+]
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Portrayed at less than half-length, the sitter wears a large cap and clothing with a fur collar in the northern style. He holds a carnation in his hands, with a signet ring whose coat of arms consists [+]
These four portraits of women, two double ones and two single ones (P02074, P02075 and P02076) presented standing and down to kneelevel, use the same architectural setting. The series is given visual [+]
Está retratado hasta las rodillas a sus sesenta y nueve años, sentado en un sillón. Viste traje y corbata negros, chaleco marfil y un bello broche en la pechera de la camisa. En la solapa luce la vene [+]
A portrait of Aline Masson, Madrazo´s favorite model and the esthetic ideal of femininity in late-nineteenth-century bourgeois Paris. The white mantilla over a red embroidered shawl and the flowers in [+]
El personaje es representado de medio cuerpo y ante un fondo oscuro. El artista tradujo de forma magistral el rostro y las manos del anciano e insistió en los detalles fisonómicos, pero materializándo [+]
This half-length portrait of an anonymous woman is traditionally though to be of the painter´s wife, Lucrecia del Fede, who he married in 1518. While there are no conclusive arguments in that re [+]
Aline Masson was Madrazo’s favourite model for genre paintings. Her heavy-lidded gaze and slightly defiant attitude convey the frivolous atmosphere of Paris, where Madrazo’s portraits met with great a [+]
These four portraits of women, two double ones and two single ones (P02073, P02074 and P02076) presented standing and down to kneelevel, use the same architectural setting. The series is given visual [+]
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