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Female Nude, or After the Bath
Oil on canvas. Ca. 1869
Rosales Gallinas, Eduardo
Female Nude, or After the Bath
Oil on canvas. Ca. 1869
Rosales Gallinas, Eduardo

Considered to be, with good reason, the most beautiful nude in nineteenth-century Spanish painting, this work provides eloquent testimony of the modernity that made Rosales stand out in the Spanish artistic panorama of his time. He would have earned himself a prominent place among the era´s artistic vanguard in Europe if his brilliant career had not been cut short by his premature death. Neither a

Ciocciara
Oil on canvas. Ca. 1862
Rosales Gallinas, Eduardo
Ciocciara
Oil on canvas. Ca. 1862
Rosales Gallinas, Eduardo

A young peasant girl from the Lazio flirts with her hands, dressed in traditional costume and leaning on a wall. The picturesque type of Italian country girl known as a ciociara was an extremely popular subject among European painters travelling in Italy at this period. Located in a setting skilfully constructed through the use of a low-level light, Rosales sketches out the figure using broad brus

Ophelia
Oil on canvas. Ca. 1871
Rosales Gallinas, Eduardo
Ophelia
Oil on canvas. Ca. 1871
Rosales Gallinas, Eduardo

This painting depicts the discovery of the dead body of Hamlet´s beloved Ophelia, floating in the river after she fell from a weeping willow, which she had climbed in order to hang a garland of flowers. The painting, which has sketchy brushstrokes, reveals the impact that William Shakespeare´s work had on Rosales. Working with extremely thin paint that allows the canvas´s priming to act as an expr

The Violinist Ettore Pinelli
Oil on canvas. 1869
Rosales Gallinas, Eduardo
The Violinist Ettore Pinelli
Oil on canvas. 1869
Rosales Gallinas, Eduardo

A portrait of the composer and performer, Héctor Pinelli, a violinist and conductor from a family of music lovers. He appears in elongated profile, turned to the left. In his hands, he holds the violin and bow that brought him such fame. The strong light directed at the model´s face recalls how light was used in seventeenth-century portraits, and that is what brings out the pale tones of hi

Concepción Serrano, later Countess of Santovenia
Oil on canvas. 1871
Rosales Gallinas, Eduardo
Concepción Serrano, later Countess of Santovenia
Oil on canvas. 1871
Rosales Gallinas, Eduardo

María de la Concepción Serrano y Domínguez was the eldest child of General Serrano, the Duke of Torre. She was born in Havana in 1860, which her father was Commander in Chief of Cuba. In 1880, she married the second Count of Santovenia. She died in 1941 in Biarritz, her habitual residence. Rosales´ portrait shows a girl of eleven in a very gracious poise, secure in her social

Tobias and the Angel
Oil on canvas. 1858 - 1863
Rosales Gallinas, Eduardo
Tobias and the Angel
Oil on canvas. 1858 - 1863
Rosales Gallinas, Eduardo

According to the Bible, Tobias was standing by a river when he was attacked by a giant fish. He was saved by his guardian angel. The painting shows the protagonist seeking refuge from the angel. The latter is turned slightly to the left. He points at the fish with his left hand, calming the boy. The closeness of this work to the aesthetics of the German Nazarine painters or the Italian Prerafaelis

Queen Isabella the Catholic dictating her Will
Oil on canvas. 1864
Rosales Gallinas, Eduardo
Queen Isabella the Catholic dictating her Will
Oil on canvas. 1864
Rosales Gallinas, Eduardo

Rosales depicts the moment when the Catholic Queen dictates her last will and testament at Medina del Campo on 12 October 1504, just days before she died. Isabel stands out in a royal chamber almost in darkness, in a canopy bed, with a medal of the Order of Saint James on her bosom. The white sheets contrast with the muted colors of the other personages. The only note of color is the red robe of a

García Aznar, count of Aragon
Oil on canvas. 1857
Rosales Gallinas, Eduardo
García Aznar, count of Aragon
Oil on canvas. 1857
Rosales Gallinas, Eduardo

The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), then under his direction. At the height of the confrontation between the supporters of Isabella II and the Carlists, who denied the sovereign’s right to occupy the throne because she was a woman, the

Maximina Martínez de Pedrosa
Oil on canvas. 1860
Rosales Gallinas, Eduardo
Maximina Martínez de Pedrosa
Oil on canvas. 1860
Rosales Gallinas, Eduardo

A bust portrait of the artist´s cousin and wife over a dark background. She is turned slightly to the right. Her hair is pulled back and she is dressed in blue with a transparent black tulle shawl on her shoulders. This painting was made when she was twenty-one years old, some time before her marriage, and in it, Rosales very freely reflects his feelings of tenderness and love toward the model. Be

An Episode from the Battle of Tétouan
Oil on canvas. 1868
Rosales Gallinas, Eduardo
An Episode from the Battle of Tétouan
Oil on canvas. 1868
Rosales Gallinas, Eduardo

This painting captures a moment in the Battle of Tetuan, when Spanish and Moroccan troops fought each other as part of the war between those two countries in 1859 and 1860. The Moroccan troops shoot and gesticulate while, on the Spanish side, the presence of cavalry and a canon auger success in this skirmish. Rosales entered this work in a painting contest on this subject, which was won by Vicente

Juan de Austria's Presentation to Emperor Charles V in Yuste
Oil on canvas. 1869
Rosales Gallinas, Eduardo
Juan de Austria's Presentation to Emperor Charles V in Yuste
Oil on canvas. 1869
Rosales Gallinas, Eduardo

The Death of Lucretia
Oil on canvas. 1871
Rosales Gallinas, Eduardo
The Death of Lucretia
Oil on canvas. 1871
Rosales Gallinas, Eduardo

After revolutionizing the painting of his time with Queen Isabel la Católica dictating her Last Will and Testament (P4624), Rosales again shook the very foundations of the Spanish art world when he presented the present historical canvas at the 1871 Exposición Nacional. This is the work that he always considered his masterpiece, and it earned him a first medal. It was always very pol

Saint Matthew the Evangelist
Oil on canvas. Ca. 1873
Rosales Gallinas, Eduardo
Saint Matthew the Evangelist
Oil on canvas. Ca. 1873
Rosales Gallinas, Eduardo

Queen Isabella the Catholic dictating her Will (preparatory study)
Oil on paper attached to cardboard. 1863
Rosales Gallinas, Eduardo
Queen Isabella the Catholic dictating her Will (preparatory study)
Oil on paper attached to cardboard. 1863
Rosales Gallinas, Eduardo

This study is an initial idea for the composition of the final canvas which the artist devised through numerous preparatory studies and drawings, the majority in the Prado. Rosales tried out the colour, lighting and arrangement of the figures, most of them grouped on the right including the seated Ferdinand the Catholic.

Doña Blanca of Navarre handed over to the Captal of Buch
Oil on canvas. 1869
Rosales Gallinas, Eduardo
Doña Blanca of Navarre handed over to the Captal of Buch
Oil on canvas. 1869
Rosales Gallinas, Eduardo

One of the most important works by Rosales to have remained in private hands, this canvas exemplifies the artist’s adaptation of history painting to a small format characteristic of the end of his short life. It depicts the sad fate of John II of Aragon’s daughter, who was exiled on her father’s orders to France where she was eventually murdered by poisoning.

The Sala di Constantino in the Vatican (study)
Oil on canvas. 1869
Rosales Gallinas, Eduardo
The Sala di Constantino in the Vatican (study)
Oil on canvas. 1869
Rosales Gallinas, Eduardo

In this preparatory study, Rosales studied many of the spatial and compositional solutions that he included in one of his best known paintings, The Presentation of don John of Austria to the Emperor Charles V.

Queen Joan on the Ramparts of the Castle of La Mota
Oil on canvas. 1873
Rosales Gallinas, Eduardo
Queen Joan on the Ramparts of the Castle of La Mota
Oil on canvas. 1873
Rosales Gallinas, Eduardo

This is Rosales’s last history painting, which was left unfinished on his death. It reveals his working method, which is relatively free in this case. The retinue of Joan of Castile, who is anxious to meet up with her husband in Flanders, attempt to convince her to take shelter during bad weather in the castle, located in Medina del Campo, Valladolid.

Queen Isabella the Catholic dictating her Will
Pencil, Grey-brown ink on yellow paper. 1863
Rosales Gallinas, Eduardo
Queen Isabella the Catholic dictating her Will
Pencil, Grey-brown ink on yellow paper. 1863
Rosales Gallinas, Eduardo

Breve tanteo en el que Rosales plantea ya la situación y aspecto de las figuras principales de su cuadro "Doña Isabel la Católica dictando su testamento", según el esquema compositivo que después concretará en el "modellino" de la col. Casa Torres. Así, el rey Fernando aparece sentado junto a la cabecera del lecho de su regia esposa, tan sólo insinuado con unos trazos rectos de la pluma, adivinánd

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