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The Battle of Clavijo
Oil on canvas. 1755 - 1756
Giaquinto, Corrado
The Battle of Clavijo
Oil on canvas. 1755 - 1756
Giaquinto, Corrado

Mounted on a white steed and flanked by an angel bearing a flag, Saint James gallops over a multitude of fallen Moors and horses. The battle scene occupies a rocky landscape in the middle ground. This canvas is a sketch for the elliptical dome at the entrance to the Royal Palace’s chapel and was painted by Giaquinto between 1756 and 1757. The canvas and its corresponding fresco are clearly derived

Paradise
Oil on canvas. 1754 - 1757
Giaquinto, Corrado
Paradise
Oil on canvas. 1754 - 1757
Giaquinto, Corrado

Corrado Giaquinto had frequent contacts with Spain as of 1735 or earlier. But the death of Jacopo Amigoni in 1752 led to his being summoned to Madrid the next year. During his stay in the Spanish Court, he earned the highest honors given to a painter in that era. He became First Painter to the Court in August 1753 and director of the Academy of San Fernando that December. His main mission was the

The Turkish Embassy in Naples
Oil on canvas. 1741
Bonito, Giuseppe
The Turkish Embassy in Naples
Oil on canvas. 1741
Bonito, Giuseppe

Giuseppe Bonito was a student of Francesco Solimena (1657-1747) and a follower of his artistic idiom. This can be seen in the decidedly Baroque appearance of his early mythological and religious works, which later led to an amiable, colourist Rococo style. Bonito specialised in genre paintings and portraits, and the present canvas is a fine example of his skills. It is especially attractive as a h

The Holy Trinity, the Virgin and Saints
Oil on canvas. Ca. 1755
Giaquinto, Corrado
The Holy Trinity, the Virgin and Saints
Oil on canvas. Ca. 1755
Giaquinto, Corrado

Corrado Giaquinto had frequent contacts with Spain as of 1735 or earlier. But the death of Jacopo Amigoni in 1752 led to his being summoned to Madrid the next year. During his stay in the Spanish Court, he earned the highest honors given to a painter in that era. He became First Painter to the Court in August 1753 and director of the Academy of San Fernando that December. His main mission was the

Leopoldo de Gregorio, Marquis of Esquilache
Oil on canvas. 1759
Bonito, Giuseppe
Leopoldo de Gregorio, Marquis of Esquilache
Oil on canvas. 1759
Bonito, Giuseppe

This refined portrait is the only one known to date of the Marquis of Esquilache (1699-1785). He accompanied Charles III to Madrid and was appointed Minister of the Treasury. The inkwell and staff of office allude to his many Neapolitan titles, while the letter destined Alla sua maestà delle due Sicilie points to his links with the King.

Self-portrait
Oil on canvas. Ca. 1727
Solimena, Francesco
Self-portrait
Oil on canvas. Ca. 1727
Solimena, Francesco

El pintor napolitano se autorretrata sentado, mostrando con orgullo los elementos propios de su trabajo, como la bata azul con que protege su negro traje de abate, el caballete, a la izquierda, con un lienzo en que se representa una figura femenina, y con el cuaderno de dibujo y la pluma que sujeta en sus manos, resaltando así el aspecto más intelectual de la pintura. La solemnidad de su gesto se

Saint John the Baptist
Oil on canvas. Ca. 1730
Solimena, Francesco
Saint John the Baptist
Oil on canvas. Ca. 1730
Solimena, Francesco

Saint John the Baptist looks out at the viewer with a direct, decided gaze. His face is framed by the diagonal lines of his arms while his body is emphasised by the pronounced chiaroscuro. The saint is accompanied by his traditional attributes: a scroll, a reed cross and the lamb that prefigures Christ’s act of redemption.

The Glory of Saints
Oil on canvas. 1755 - 1756
Giaquinto, Corrado
The Glory of Saints
Oil on canvas. 1755 - 1756
Giaquinto, Corrado

Standing on clouds at the center of the composition, Moses points toward the sunbeams shining down from the sky. Beneath him, Abraham and Isaac are accompanied by the sacrificial lamb. To the left of the composition, Saint Laurence and Saint Steven await the palm frond of martyrdom carried by angels; and to the right, we see the strong women of the Bible and King David.This composition belongs to

The Birth of the Sun and the Triumph of Bacchus
Oil on canvas. 1761
Giaquinto, Corrado
The Birth of the Sun and the Triumph of Bacchus
Oil on canvas. 1761
Giaquinto, Corrado

This is a sketch of the fresco that Corrado Giaquinto painted in the former stairway at the Madrid’s Royal Palace, which is now the Hall of Columns. That fresco, his last work at the Royal Palace, is undoubtedly one of the finest paintings from Giaquinto’s Spanish period.He concluded it in 1762, so the sketch presented here must have been made slightly earlier. At the top is the figure of Apollo,

Tityus
Oil on canvas. First half of the Último tercio del siglo XVII - XVIII century
Solimena, Francesco (Attributed To)
Tityus
Oil on canvas. First half of the Último tercio del siglo XVII - XVIII century
Solimena, Francesco (Attributed To)

Bacchus and Ariadne
Pencil, Grey-brown wash, White lead on papel verjurado, verdoso. Ca. 1715
Conca, Sebastiano
Bacchus and Ariadne
Pencil, Grey-brown wash, White lead on papel verjurado, verdoso. Ca. 1715
Conca, Sebastiano

La composición enmarcada a tinta presenta a la izquierda a Ariadna sentada; a la derecha, Baco la corona en pie y un fauno arrodillado vierte el vino en un ánfora. Al fondo, Sileno, transportado por sus compañeros. Existen varias composiciones de Conca de este tema, conocidas por lienzos y dibujos, fechadas hacia 1715. El dibujo del Prado presenta una escena diferente, pero relacionada estilística

Jacob’s Dream
Ink, Grey-brown wash on dark yellow paper. Ca. 1720
Pò, Giacomo del
Jacob’s Dream
Ink, Grey-brown wash on dark yellow paper. Ca. 1720
Pò, Giacomo del

En la parte baja, Jacob recostado en tierra dormido y tras él la escala con los ángeles que suben y bajan, y en lo alto, Dios Padre.Atribuido de antiguo a Gaulli y publicado como tal, ha de ser considerado, sin embargo, de mano de Giacomo del Pò por su semejanza con otros dibujos atribuidos a este artista. Los modelos son idénticos a los de un dibujo seguro, Venus y Psique transportan a Cupido al

The Dream of Saint Joseph
Black chalk, Pencil, Grey wash on dark yellow paper. Early XVIII century
Conca, Sebastiano
The Dream of Saint Joseph
Black chalk, Pencil, Grey wash on dark yellow paper. Early XVIII century
Conca, Sebastiano

San José de frente, en primer término, y dormido, un ángel vuela sobre su cabeza y levanta su manto. Al fondo, tras una puerta, la Virgen amamanta al Niño. El dibujo forma, tal vez, pareja con el D03344 ya que presenta características semejantes y deben ser ambos del periodo romano de Conca, ya que es evidente la influencia de los modelos y de las composiciones de Carlo Maratti.Sebastiano Conca (1

Charles VII of Naples, the future Charles III of Spain
Italian marble. Ca. 1744
Anonymous
Charles VII of Naples, the future Charles III of Spain
Italian marble. Ca. 1744
Anonymous

A medallion portraying the young Charles of Bourbon (1716-1788), recently proclaimed King of Naples and Sicily, who would become King Charles III of Spain in 1759. Shown in profile with a large wig and dressed all’antica, his breastplate bears a head of Medusa, an allusion to the mythological heroes, and the golden fleece, the symbol of the Order of the same name.

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