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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.
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
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
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
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
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 (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
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
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.
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
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
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
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
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
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
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
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
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
