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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

Village Kitchen
Oil on panel. Ca. 1632
Ostade, Adriaen Van
Village Kitchen
Oil on panel. Ca. 1632
Ostade, Adriaen Van

This work belongs to the so-called peasant interiors, one of the new genres of painting that emerged and developed in Flanders and Holland in the early seventeenth century. In Houbraken and in early inventories they are described as een boertje (a little peasant) or as toeback rookerchen (tobacco smokers). The consolidation and appreciation of this genre was fostered by the satirical and moralisin

Petronella de Waert
Oil on canvas. 1670
Borch II, Gerard Ter
Petronella de Waert
Oil on canvas. 1670
Borch II, Gerard Ter

This painting formed part of the collection of the Marquis of Castro-Serna (Madrid) where, according to Michel (1887) -who repeats information given by Alfonso de Stuers- it appeared in 1887 as a pendant to the portrait of Nicolaes Pancras (whereabouts unknown). Gudlaugsson (1959) assumes that both were replicas of the original portraits of Nicolaes Pancras and Petronella de Waert (current whereab

Rustic Concert with Pipe and Violin
Oil on panel. 1635 - 1637
Ostade, Adriaen Van
Rustic Concert with Pipe and Violin
Oil on panel. 1635 - 1637
Ostade, Adriaen Van

This work belongs to the so-called peasant interiors, one of the new genres of painting that emerged and developed in the Netherlandsin the early seventeenth century. In Houbraken and in early inventories they are described as een boertje, (a little peasant) or as toeback rookerchen (tobacco smokers). The consolidation and appreciation of this genre was fostered by the satirical and moralising lit

Nude Old Man in the Sun
Oil on canvas. Ca. 1871
Fortuny, Mariano
Nude Old Man in the Sun
Oil on canvas. Ca. 1871
Fortuny, Mariano

This work is an excellent example of the way in which an interest in the art of Spain´s Golden Age combines in Mariano Fortuny´s paintings with the close study of subjects made from life. Nude Old Man in the Sun reveals Fortuny´s familiarity with the work of Jusepe de Ribera, whose painting Saint Andrew (P1078) he had copied on a previous occasion. And as in that copy and others Fortuny made (such

Queen María Isabel of Braganza as founder of the Museo del Prado
Oil on canvas. 1829
López Piquer, Bernardo
Queen María Isabel of Braganza as founder of the Museo del Prado
Oil on canvas. 1829
López Piquer, Bernardo

María Isabel of Braganza was born in Lisbon on 19 May 1797, daughter of John VI of Portugal and Carlota Joaquina of Spain. She became queen of Spain when she married her uncle, Ferdinand VII on 28 September 1816, being his second wife. She died during childbirth in Aranjuez on 26 December 1818. It must be noted that this is a posthumous portrait. The author, son of Vicente López and

A Thief
Watercolour on paper. Ca. 1887
Fabrés y Costa, Antonio María
A Thief
Watercolour on paper. Ca. 1887
Fabrés y Costa, Antonio María

Antonio Fabrés, one of the leading fin-de-siècle orientalist painters, made various paintings of thieves condemned to death (as indicated in Arabic on the shingle at the head of this one), surrounded by the objects they had stolen. Despite the cruelty of this punishment, the artist takes pleasure in the vivid colors and attractive arrangement of the clothing.

Idyll
Watercolour, Gouache / tempera on paper. 1868
Fortuny, Mariano
Idyll
Watercolour, Gouache / tempera on paper. 1868
Fortuny, Mariano

This watercolor offers a profile view -similar to a low relief- of a child or young faun sitting on a fragment of an Ionic entablature with egg-and-dart decorations above an astragal. The slender, nude child recalls the Italian boys who worked as models in academies and were depicted by European painters and sculptors. At the academies where he studied, Fortuny had drawn numerous nude boys, some p

Saint Peter healing the lame
Pencil, Pencil ground, Grey-brown ink, Wash on dark yellow paper. Ca. 1606
Cardi, Ludovico
Saint Peter healing the lame
Pencil, Pencil ground, Grey-brown ink, Wash on dark yellow paper. Ca. 1606
Cardi, Ludovico

A decisive breakthrough in the career of the Tuscan painter Lodovico Cigoli came with his contribution to a series of six paintings required for the new altars for St Peter’s Basilica in Rome. According to the reliable account of the Florentine biographer Filippo Baldinucci, the intervention of Grand Duke Ferdinando de Medici was critical towards Cigoli being awarded the contract in 1604 for the l

View of Pompeii with Vesuvius in the background
Pencil ground, Watercolour on paper. XIX century
Montañés y Pérez, Bernardino
View of Pompeii with Vesuvius in the background
Pencil ground, Watercolour on paper. XIX century
Montañés y Pérez, Bernardino

María Teresa de Madrazo y Madrazo
Watercolour on continuous paper. 1868
Fortuny, Mariano
María Teresa de Madrazo y Madrazo
Watercolour on continuous paper. 1868
Fortuny, Mariano

This watercolour is part of a group of works Fortuny painted shortly before returning to Rome in 1868 using the people around him as models. María Teresa was the only child born of the marriage between Luis and Luisa de Madrazo, uncle and sister of Fortuny’s wife respectively, and the artist portrayed her aged two and a half. She is accompanied by a construction on a draught board and her f

Pietá
Pencil, Pencil, Watercolour on paper. 1842
Ponzano Gascón, Ponciano
Pietá
Pencil, Pencil, Watercolour on paper. 1842
Ponzano Gascón, Ponciano

Hasta la Guerra Civil, en la que fue destruido el santuario una noche de diciembre de 1937, La Piedad de Ponzano estuvo en el templo de la Virgen de Riánsares, en Tarancón (Cuenca), sobre la cripta donde fue enterrado en 1873 el primer duque de ese título y segundo marido de la reina María Cristina de Borbón, Fernando Muñoz. Después de la guerra, según testimonio de Dimas Pérez Ramírez, se conserv

On the Banks of the Guadaira
Watercolour on paper. 1871
Rico y Ortega, Martín
On the Banks of the Guadaira
Watercolour on paper. 1871
Rico y Ortega, Martín

Rico moved to Andalusia in 1870 and worked alongside his friend Mariano Fortuny. While in Seville he painted views of the area around the Guadaira river, dotted with market gardens and orange trees. Rico brilliantly captured the effects of light and atmosphere through the use of a pale, vibrant palette.

Landscape
Watercolour on continuous paper. Ca. 1850
Rigalt y Farriols, Luis
Landscape
Watercolour on continuous paper. Ca. 1850
Rigalt y Farriols, Luis

El catalán Luis Rigalt fue uno de los más destacados representantes del paisajismo español del siglo XIX y su producción pictórica abarcó prácticamente toda la centuria, evidenciándose en ella su evolución paulatina, desde los postulados más tardo románticos hasta llegar a un naturalismo de carácter realista. Junto a esta faceta artística, el pintor cultivó también a lo largo de su vida otra, no m

Lanscape at Portici
Watercolour, Gouache / tempera on paper. 1874
Fortuny, Mariano
Lanscape at Portici
Watercolour, Gouache / tempera on paper. 1874
Fortuny, Mariano

In the summer of 1874 Fortuny settled in a seaside villa in Portici, near Naples, where he painted several landscapes and seascapes that show his interest in the study of painting from life. This interest is clear in this view of the surrounding area of his house, in which the arrangement of clouds in motion suggests the instability of the changing atmosphere of that place.

The Annunciation
Pencil, Pencil ground, Grey-brown wash, Watercolour on yellow laid paper. Third quarter of the XVII century
Palacios, Francisco
The Annunciation
Pencil, Pencil ground, Grey-brown wash, Watercolour on yellow laid paper. Third quarter of the XVII century
Palacios, Francisco

En la escena, se representa a la Virgen arrodillada en un reclinatorio, sobre el que apoya un libro de oraciones; a la derecha, el Arcángel San Gabriel, arrodillándose ante ella, le anuncia el misterio de la Encarnación.De estilo muy semejante al de Cajés y sus discípulos. Al no conocerse más obra gráfica de Francisco Palacios, lo que imposibilita la comparación estilística, no existe posibilidad

A Moroccan
Watercolour on paper. 1869
Fortuny, Mariano
A Moroccan
Watercolour on paper. 1869
Fortuny, Mariano

This work is a typical example of the watercolours Fortuny produced in his Roman studio during winter and early spring afternoons and evenings. In them he painted Arab subjects based on free interpretations of European models. The simple composition featuring a figure against a wall, whose material properties are painstakingly depicted, the solid and lifelike anatomical rendering, and the refineme

Landscape
Watercolour on paper. 1866
Algarra y Hurtado, Cosme
Landscape
Watercolour on paper. 1866
Algarra y Hurtado, Cosme

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