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A poor student is handing over some coins to a fruit-seller as he makes a knot in the handkerchief, clinched in his teeth, to put away the change. On the right side, in the immediate foreground, a young man biting on a chunk of melon stares at us. He is holding a basket full of fruit, which, besides the melons on the left, is one of the most attractive parts of this splendid “still life with figur
Pedro Alcántara Álvarez de Toledo Silva y Mendoza Salm Salm, XIII duque del Infantado (Madrid, 1768-1841), fue ministro de Estado y presidente del Gobierno (1824-1826).El duque está retratado de cuerpo entero, a sus cincuenta y nueve años, ante un paisaje de campo abierto. Viste uniforme de capitán general, sobre el que luce la gran cruz y banda de la orden de Carlos III e insignia y banda del Toi
This painting has been related to a series of compositions on the theme of martyrs which Juan de Roelas, an artist of Flemish origin, executed with his studio for the monastery of the Merced in Seville. In line with the prevailing dictates of spirituality, it depicts a crowded composition that focuses on the Crucifixion and the martyrdom of the twelve apostles.
This is one of a series of four canvases mentioned by Ponz as having been sent to the Museo de la Trinidad (1800, I, fourth letter, paragraph 10): "The Convent of Saint Catherine, which is of the Shod Mercedarians, was enlarged by Archbishop Tenorio […]. There are four large paintings in the corners of the cloister, painted by Alonso del Arco." The inventories list only two (this one and The Behea
This work shows politician, poet, playwright and tutor to Queen Elizabeth II, Manuel José Quntana (Madrid, April 11, 1772- Madrid, March 11, 1857) on the day of his coronation in the Senate as Illustrious Poet (March 25, 1855).
La miniatura principal representa una Última Cena, en una escena de considerables dimensiones para la miniatura española del período (116 x 148 mm). Sigue la iconografía habitual, dentro de un esquema aproximadamente simétrico. Cristo aparece en el centro, con san Juan apoyado en su regazo. A la derecha cinco apóstoles, del que el único reconocible es san Pedro, con los brazos en alto, ante la sor
This work depicts a female figure leaning towards the left of the drawing with a cloak over her head. It shares many similarities with D003265. On the verso, there is a fragment of a study of a male nude in black pencil and chalk. This is a preparatory drawing for the central figure of The Nativity in the Church of San Pascual in Aranjuez, painted alongside its related episodes (Annunciation, Asce
Esta estampa, número 10 de la colección Cuadros selectos de la Real Academia de Bellas Artes de San Fernando, reproduce la pintura de Bartolommeo Carducci conservada en la citada institución (inv. 0627). Durante el siglo XIX la pintura estuvo atribuida a Luis Tristán, según la letra grabada en esta plancha, y después, también a Alejandro Magnasco. La estampa se puso a la venta por primera vez en 1
Esta estampa, número 40 de la colección Cuadros selectos de la Real Academia de Bellas Artes de San Fernando, reproduce la pintura de Francisco de Goya conservada en el Museo del Prado (P00741), y antes de 1901, en la Academia de Bellas Artes de San Fernando, desde 1836. La estampa se puso a la venta por primera vez en 1870, formando parte del primer cuaderno de la colección, que finalizaría su pu
