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Charles IV and his Family honoured by the University of Valencia
Oil on canvas. 1802
López Portaña, Vicente
Charles IV and his Family honoured by the University of Valencia
Oil on canvas. 1802
López Portaña, Vicente

During his visit to Valencia in 1802, the Literary University of the city gave the King this painting which shows the university, personified as a young matron, introducing the royal family to the various faculties: Theology, Law, Philosophy and Medicine. They are accompanied by the goddess Minerva, who points to Peace, Victory and Abundance, who fly over this symbolic reception.

The Duchess of Abrantes
Oil on canvas. 1816
Goya y Lucientes, Francisco de
The Duchess of Abrantes
Oil on canvas. 1816
Goya y Lucientes, Francisco de

Dressed in French fashion from the second decade of the nineteenth century and wearing a stylish floral diadem on her head, the duchess holds a piece of music in her hands, alluding to her love of music and singing. This is Goya´s last known portrait of an aristocratic lady. Its vibrant, rapid technique still recalls the affected, multicolored portraits from the eighteenth century, but its way of

The Baptismal procession of Prince Juan, son of the Catholic Kings, through the streets of Seville
Oil on canvas. 1910
Pradilla y Ortiz, Francisco
The Baptismal procession of Prince Juan, son of the Catholic Kings, through the streets of Seville
Oil on canvas. 1910
Pradilla y Ortiz, Francisco

This painting depicts the baptism of Prince Juan. It is based on the description of that event from Historia de los Reyes Católicos (History of the Catholic Kings) by Andrés Bernáldez, published in 1856. The documentary rigor of this text is transferred to the canvas, so we can speak here of the archeological veracity with which Pradilla reconstructed that historical event. Th

The Coronation of the Virgin
Oil on canvas. 1635 - 1636
Velázquez, Diego Rodríguez de Silva y
The Coronation of the Virgin
Oil on canvas. 1635 - 1636
Velázquez, Diego Rodríguez de Silva y

Velázquez painted The Coronation of the Virgin for Queen Elizabeth of Bourbon`s new prayer chapel at Madrid`s Alcázar palace, where it was intended to complete the series of nine paintings by Alessandro Turchi on The Feasts of Our Lady that Cardinal Gaspar de Borja y Velasco had sent to Madrid from Rome in 1635 or earlier. This was Velázquez`s last religious painting. The pray

Infantas Isabel Clara Eugenia and Catalina Micaela
Oil on canvas. Ca. 1575
Sánchez Coello, Alonso
Infantas Isabel Clara Eugenia and Catalina Micaela
Oil on canvas. Ca. 1575
Sánchez Coello, Alonso

Philip II’s two daughters Isabel Clara Eugenia (1566-1633) and Catalina Micaela (1567-1597), were repeatedly portrayed from the time they were very small by Alonso Sánchez Coello, one of the king’s court painters. Those likenesses had the characteristics of court portraits, reflecting not only the sitters’ features and their royal context, but also the type of society and state being depict

Angel with a Crown of Lilies
Oil on canvas. 1767 - 1769
Tiepolo, Giovanni Battista
Angel with a Crown of Lilies
Oil on canvas. 1767 - 1769
Tiepolo, Giovanni Battista

This is a fragment of Saint Joseph with the infant Christ, painted for the convent church of San Pascual in Aranjuez, and now in Detroit. Although Giambattista required the help of his son Domenico to undertake the project, this small angel seems to be entirely painted by his own hand.

The Triumph of Saint Hermenegild
Oil on canvas. 1654
Herrera The Younger, Francisco de
The Triumph of Saint Hermenegild
Oil on canvas. 1654
Herrera The Younger, Francisco de

The Triumph of Saint Hermenegild (d. 585) and of the Catholic Church over Arianism. The saint rises up to heaven surrounded by angels carrying the symbols of his origin and martyrdom: the crown and scepter of a Visigothic king, on the left; and the chains and ax of his martyrdom, on the right. On the lower part of the painting are King Leovigildo, dressed in armor, and an Arian Bishop with the cha

The Martyrdom of Saint Agnes
Oil on panel. 1540 - 1545
Macip, Vicente
The Martyrdom of Saint Agnes
Oil on panel. 1540 - 1545
Macip, Vicente

Masip depicts this fourth-century Roman saint´s second martyrdom, when, after having been condemned to be burned at the stake, the flames miraculously failed to touch her body and she was finally condemned to die by beheading. The logs, still burning and smoking, appear at the martyr´s feet. The lamb she holds in her arms symbolizes her virginity at the moment of her death, which was r

Sketch for Allegory of the Institution of the Order of Charles III
Oil on canvas. 1827 - 1828
López Portaña, Vicente
Sketch for Allegory of the Institution of the Order of Charles III
Oil on canvas. 1827 - 1828
López Portaña, Vicente

This preparatory sketch for the ceiling of Charles III’s former bedroom at the Royal Palace in Madrid depicts the Institution of the Order of Charles III following the birth of the King’s first male grandchild. A personification of Monarchy holds the newborn Infante in its arms, and the Virgin of the Immaculate Conception, patroness of the Order, is depicted at the centre of the composition.

Allegory of Dawn
Oil on canvas. Ca. 1819
Ribera y Fernández, Juan Antonio
Allegory of Dawn
Oil on canvas. Ca. 1819
Ribera y Fernández, Juan Antonio

The allegories, The Hours of the Day, were painted in 1819 by José de Madrazo in Rome just before his return to Spain, to be used in the decoration of the small palace in Madrid known as Casino de la Reina. This country holding, considered one of “the most prized curiosities of Madrid”, was acquired in 1816 by the city government of Madrid as a gift for Queen María Isabel of Braganza

Saint Anne teaching the Virgin to read
Oil on canvas. Ca. 1655
Murillo, Bartolomé Esteban
Saint Anne teaching the Virgin to read
Oil on canvas. Ca. 1655
Murillo, Bartolomé Esteban

Painters from Seville were very fond of this apocryphal episode from the Virgin’s childhood. Here, Murillo used it to bring various levels of reality into a single pictorial space: first, historical reality in the form of a domestic scene in which a mother has left her sewing to instruct her daughter; second, a space generated with architectural references such as balustered columns that locate th

Innocence
Black chalk, White chalk on blue paper. 1781
Bayeu y Subías, Ramón
Innocence
Black chalk, White chalk on blue paper. 1781
Bayeu y Subías, Ramón

This is a grided pencil sketch depicting an allegorical figure seated on a cloud and facing forwards. The figure wears a crown of flowers and caresses a little lamb. She is accompanied by child angels.It is a preparatory drawing for the corresponding figure on a cupola pendentive in front of the Chapel of Santiago del Pilar in Zaragoza. It is intended for the Marian devotion Regina Virginum, paint

The Coronation of the Virgin
Taille douce: etching and engraving on laid paper. 1795
Massard, Jean; Cruz Vázquez, Manuel de la
The Coronation of the Virgin
Taille douce: etching and engraving on laid paper. 1795
Massard, Jean; Cruz Vázquez, Manuel de la

This print is part of a series published by the Company for the engraving of paintings from the Royal Palaces, although it was only published after that institution was no longer active. The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints

Coronation of the Virgin
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
Feillet, Pierre Jacques; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Coronation of the Virgin
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
Feillet, Pierre Jacques; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Estampa de Pierre Jacques Feillet que reproduce un lienzo de Diego Rodríguez de Silva y Velázquez conservado en el Museo Nacional del Prado (P01168). Es la estampa LXVI con un texto explicativo de José Musso y Valiente. Forma parte del tomo II de la serie editada por el Real Establecimiento Litográfico, dirigida por José de Madrazo, Coleccion lithografica de cuadros del rey de España el señor don

Coronation of the Virgin
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Feillet, Pierre Jacques; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Coronation of the Virgin
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Feillet, Pierre Jacques; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

The Company for the engraving of the paintings from the Royal Palaces was one of the Spanish Enlightenment’s major undertakings during the second half of the 18th century. It supervised the reproduction of prints of paintings from the Royal Collections and its early projects were carried out by Francisco de Goya, who reproduced some of Velázquez’s paintings in 1778, and by Juan Barcel&oacut

The Coronation of the Virgin
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
Feillet, Pierre Jacques; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
The Coronation of the Virgin
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1836
Feillet, Pierre Jacques; Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

Estampa de Pierre Jacques Feillet que reproduce un lienzo de Diego Rodríguez de Silva y Velázquez conservado en el Museo Nacional del Prado (P01168). Es la estampa LXVI con un texto explicativo de José Musso y Valiente. Forma parte del volumen II de la serie editada por el Real Establecimiento Litográfico, dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España el señor do

The Andrians
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Zöllner, Ludwid Theodor; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The Andrians
Crayon lithography, Pen lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Zöllner, Ludwid Theodor; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

Es una litografía de Ludwid Theodor Zöllner (1796?-1860) que reproduce el óleo de Tiziano conservado en el Museo Nacional del Prado (P00418). Esta estampa se entregaba con el cuadernillo CL acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España el señor don Fernando V

The Andrians
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Zöllner, Ludwid Theodor; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de
The Andrians
Crayon lithography, Pen lithography, Scraper, Lithographic aquatint on wove paper. 1832 - 1837
Zöllner, Ludwid Theodor; Real Establecimiento Litográfico de Madrid; Madrazo y Agudo, José de

Es una litografía de Ludwid Theodor Zöllner (1796?-1860) que reproduce el óleo de Tiziano conservado en el Museo Nacional del Prado (P00418). Esta estampa se entregaba con el cuadernillo CL acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo III de la serie dirigida por José de Madrazo, Colección litográfica de cuadros del rey de España el señor don Fernando V

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