The most famous of Esquivel´s pieces and a leading work of Spanish Romanticism. Considered the maximum graphical testimony to the intellectual atmosphere during the reign of Isabel II (1830 - 1904), this canvas depicts a fictitious meeting of Esquivel´s most relevant cultural contemporaries. The composition combines the complexities of a group portrait with the scheme of Flemish Baroque cabinet portraits, concentrating on every single detail of the painter´s studio, so that his works and taste c

The delicate figure of Venus, goddess of love and beauty, rises out of the waves on a large scallop shell supported by naiads crowned with seaweed. Using a refined technique, Esquivel respects the classical canons of proportion and ideal beauty. The composition is inspired by the Venus pudica, a Classical sculpture of which Esquivel himself had a cast. It was regarded in the nineteenth century as the epitome of female perfection and beauty. This is arguably the finest female nude in Spanish Roma

This composition reflects the ideals of José Güell (1818-1884), the boys’ father, a friend of the artist and a writer and liberal journalist. The fact that the sitters are freeing some goldfinches and are dressed as Arcadian shepherds refers to the ideas of the French philosopher Jean-Jacques Rousseau (1712-1778) on the liberty important for children’s education. The sculptural modelling is characteristic of Esquivel’s final period.

Este delicado retrato femenino es una miniatura ( 43 x 52 mm) pintada con gran finura que presenta a una joven adolescente. Es un ejemplo más de cómo Esquivel pintó ampliamente el universo femenino en soportes de diverso tamaño y, en ocasiones como esta, en miniaturas de carácter íntimo, concentrándose en la plasmación del rostro, reflejando la moda de fino talle y amplio escote sobre un fondo oscuro que resalta más la silueta, trasmitiendo un aire de suave naturalidad. La miniatura está elabora

Among the painters of Spanish Romanticism, Antonio María Esquivel was one of the closest to the literary movement, of which he made many group portraits, such as his most important work: Contemporary Poets. A Reading by Zorilla in the Painter´s Studio (P004299). There, the two greatest poets of the First Spanish Romanticism – the duke of Rivas and José de Espronceda (Badajoz, 1808–Madrid, 1842), by then already deceased – each appear in a prominent place in the painting in th

Lucifer was one of God´s favorite angels. He was expulsed from Heaven when he rebelled against His power. To represent the subject, Esquivel chose the moment when, with a stern expression, Saint Michael separates him from Celestial Glory. The subject is comparable to Saint Michael´s fight with the dragon of sin, which was frequently depicted by innumerable artists. Nevertheless, Esquivel eschews the customary image of the saint with helmet and sword, concentrating instead on both figures´ expres

Romanticism found in childhood a motif of inspiration in keeping with its ideals of the expression of feelings unimpeded by the passage of time and the imprint of experience, which erased natural candour. The Sevillian artist Antonio María Esquivel, the trailblazer of the Romantic movement, knew how to express this naivety. This work is an example of what was said before. It depicts a smiling girl, who leans her little body on the arm of an armchair to prevent the weight of the wheel she

Antonio María Esquivel´s work provides, undoubtedly, the best example of the unique symbiosis achieved in Spanish religious painting from the romantic period, combining the powerful tradition of Andalusian Baroque with the stylistic refinement of orthodox classicism defended by academic purists. Esquivel spent much of his career producing a noteworthy number of religious paintings, both for private devotions and, above all, to achieve an element of prestige and renown in the public compet

God the Father and the Holy Spirit are seen above the figure of Christ who is represented as the Salvator Mundi, holding the cross and with the wounds of the Passion symbolising the Redemption. The anatomical accuracy and folds of the red cloth reveal the importance of the artist’s academic training while the gold and earth tones recall the Andalusian Baroque tradition. In the background of his painting Contemporary Poets (P004299) Esquivel included the preparatory study for this work alongside

Amparo Romero, wife of Cesáreo María Sáenz y de la Barrera (P04300).

This portrait of María Luisa Teresa de Borbón (Aranjuez, Madrid, 1824–Madrid, 1900) depicts the ten-year-old Infanta posing in front of a shady landscape. She carefully holds a rose in her left hand and with the other, she grasps the skirt of her dress with a typical courtly gesture of offering. This piece stands out among Esquivel´s extensive work for the exquisite delicacy of its execution. He highlights the girl´s flowing garments using subtle shading. The Infanta wears a long w

This Sevillian painter, one of the greatest of Romantic portraitists, had a close friendship with the famous actors Julián Romea and Matilde Díez (1818 – 1883), who were also man and wife. The portrait follows one of the artist’s favourite compositional outlines consisting of a three-quarter format, that often includes drapery, and featuring column in the background.

The portrait of Manuel Flores Calderón is part of an anthology of Spanish Romantic child portraits. Manuel is portrayed in front of a seascape, with two ships on the horizon. He rests his right hand on a boulder. Notable here is the painter´s special sensitivity at capturing the model´s natural elegance, which recalls English child portraits. The precise drawing and sober palette are emphasized by a few colorful touches, such as the boy´s red bowtie. These works were donated by Manuel Flo

The portrait of Rafaela Flores Calderón is part of an anthology of Spanish Romantic child portraits. Rafaela leans on a large empty cage while a gray parrot perches on her left hand. In the background a flower garden has a pedestal topped by a large vase on the right. Notable here is the painter´s special sensitivity at capturing the model´s natural elegance, which recalls English child portraits. The precise drawing and sober palette are emphasized by a few colorful touches, such as the

Cesáreo María Sáenz y de la Barrera Rodríguez y Martín de Villaescusa (Cádiz, 26-02-1785) was a Senator for the province of Granada between 1843 and 1844 and secretary and director of the Royal Company of the Philippines. He married Amparo Romero (P04797). The Museo del Prado has a portrait of her which pairs up with this one.In the portrait, Cesáreo María Sáenz wears the uniform of a royal secretary. He wears the commandery of the O

This painting portrays Santiago Miranda y Montijano, appointed in 1836 as a Supernumerary Knight of the Order of Charles III. The pair of portraits of the Miranda Pascual couple, consisting of this work and the portrait of "Fernanda Pascual" (P04296), is a clear example of one of the most widespread and characteristic forms of Spanish Romanticism, the cabinet portrait. These paintings were markedly intimate and were usually destined to the private rooms of their owners. There are numerous portra

The Sevillian master depicts himself in a bust portrait against a neutral background. He wears a simple frock coat with a velvet collar and bow tie. Together with his abundant, somewhat tousled hair and his characteristic moustache and goatee, his features already show signs of aging, as he appears to be in his fifties. His figure, which is slightly drawn from the bottom upwards, the slightly frowning brow and the seriousness of his expression give his countenance a rather proud and distant expr

This painting portrays Fernanda Pascual, wife of Santiago Miranda y Montijano. The pair of portraits of the Miranda Pascual couple, consisting of this work and the portrait of "Santiago Miranda" (P04298), is a clear example of one of the most widespread and characteristic forms of Spanish Romanticism, the cabinet portrait. These paintings were markedly intimate and were usually destined to the private rooms of their owners. There are numerous portraits of this format in Esquivel’s artistic produ