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Fortuny (1838-1874)

Museo Nacional del Prado. Madrid 11/21/2017 - 3/18/2018

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The Museo Nacional del Prado is presenting an exhibition on Mariano Fortuny y Marsal (1838-1874), to be displayed in the two principal galleries of the Museum’s extension. This is the first retrospective on this leading Spanish artist to be presented at the Prado, which houses most of Fortuny’s masterpieces due to the generous bequests of Ramón de Errazu and of Mariano Fortuny y Madrazo, the painter’s son, as well as acquisitions purchased by the Museum.

As with the previous monographic exhibitions held at the Prado, Mariano Fortuny (1838-1874) will offer a reassessment of the artist's finest works.

Mariano Fortuny was the Spanish artist who achieved most international renown in the last third of the 19th century. Fortuny was a true innovator in all the fields of art in which he worked. In oil painting his precise, colourful and virtuoso technique gave rise to a new interpretation of the natural world, particularly the effects of light. Notably influential in this respect was his mastery of watercolour, which made him the preeminent practitioner of that artistic discipline in his day. Fortuny’s constant emphasis on drawing, with his rapid, nervous stroke, underpinned his ability to reflect different aspects of reality. His distinctive and brilliant use of etching liberated prints from their reproductive function in Spain and located Fortuny among the great graphic artists of the day. Finally, his passion for collecting resulted in a large group of works of art and antiquities which he housed in his atelier, many of them now in leading museum collections.

The exhibition focuses on all these aspects of Fortuny as an artist and also on his collecting activities, which can be closely linked to his interest in representing textures, colour and light in his paintings. All the works on display have been carefully selected for their quality and significance.

In addition to works from the Prado’s own holdings, the exhibition has benefitted from the generous participation of major collections and museums around the world, with a particularly significant contribution from the Museo Fortuny in Venice, which is lending more than 30 works, many of them rarely seen before. Another important lender is the Museu Nacional d’Art de Catalunya.

Curator:
Javier Barón, Chief Curator of 19th-century Painting

Access

Room A and B. Jerónimos Building

Supported by:
Fundación AXA
In special collaboration with:

Museo Fortuny de Venecia

Museu Nacional d’Art de Catalunya

Multimedia

Exhibition

The exhibition

The exhibition
Opium Smoker
Fortuny y Marsal, Mariano
1869. Watercolour on paper, 384 x 498 mm.
Saint Petersburg, The State Hermitage Museum, 2017

Continuing the Museo del Prado’s strategy, launched some years ago, of reassessing the great masters of 19th-century Spanish painting, the Museum is now presenting the major exhibition Fortuny (1838-1874), sponsored by Fundación AXA and with the special collaboration of the Museo Fortuny in Venice and the Museu Nacional d’Art de Catalunya.

Devoted to one of the 19th-century Spanish artists who has enjoyed the most sustained reputation and greatest international fame, and a notable figure within Spanish art of all periods, the exhibition is on display in Rooms A and B of the Jerónimos Building from 21 November 2017 to 18 March 2018.

While Mariano Fortuny has long been celebrated in the specialist literature and through the numerous exhibitions and different initiatives of varying quality and importance that have been devoted to him in recent decades, his stature as an artist and his profound roots in the most authentic tradition of the great Spanish School justify a focus on the part of the Prado of the same level of ambition and importance as those which the Museum has dedicated to the most important artists represented in its collection.

Curated by Javier Barón, Chief Curator of 19th-century Painting, the exhibition is structured as a chronological survey of Fortuny’s contributions as a painter, watercolourist, draughtsman and printmaker. In addition, visitors can appreciate works from the artist’s remarkable collection of antiques that he had in his atelier. These precious objects, some of them now housed in the world’s leading archaeology museums, reveal Fortuny’s interest in careful observation and explain his extremely refined ability to capture texture, colour and light in his own creations as well as the remarkable virtuosity of his work, which rapidly extended his fame among Europe and America’s leading collectors.

The first section of the exhibition is devoted to Fortuny’s formative years in Rome and includes works that reveal his precocious maturity, evident in his pencil, chalk and charcoal life studies, his watercolours (Il contino) and his oils (Odalisque). Although he went to North Africa to paint episodes from the Spanish-Moroccan war (The Battle of Wad-Ras), what most interested him were the different local peoples and their customs (Arab Fantasia), an inspiration that reappeared throughout the rest of his career and made his contribution to European orientalism a particularly unique one.

Between 1863 and 1868 Fortuny focused on portraiture (Mirope Savati, never previously exhibited in Europe), on large-scale decorative painting (Queen María Cristina and her Daughter, Queen Isabella, reviewing the Artillery Batteries defending Madrid, now shown in its original position), and on copies of the great masters in the Prado (El Greco, Ribera, Velázquez and Goya), the latter helping to giving his art greater depth and complexity. He achieved new success in the 1860s with his oils and watercolours on 18th-century subjects (The Print Lover and The Spanish Wedding) and Arab ones (Arab Chief, A Moroccan, The Tapestry Seller, A Street in Tangiers, and Opium Smoker). Fortuny particularly developed the latter interest during the time he spent in Granada between 1870 and 1872 and that city also inspired genre scenes in composite architectural frames (Noblemen’s Pastimes, Luncheon at the Alhambra and Old City Hall in Granada). Most innovative of all, however, were the artist’s first-hand depictions of objects, figures (Nude old Man in the Sun), gardens and landscapes in the form of oils, watercolours, ink and pencil. Works such as The Carrera del Darro, Granada, never previously seen outside the British Museum, reveal his ability to capture atmosphere through a new and fresh type of colouring.

Having returned to Rome, in 1873 Fortuny focused on Arab themes using a more synthetic technique (Arab leaning against a Tapestry and Arab Fantasia outside the Gate of Tangiers), looked at the reality of daily life (Carnival on the Corso, Rome), and completed various genre paintings he had started some years before, such as The Choice of a Model. A period spent that year in Portici near Naples offered him a direct contact with nature which brought a new awareness of local colour and coloured shadows to his paintings of nude children on the beach (including a group of four, two never previously exhibited), and to his landscapes such as Street in Granatello, Portici and Neapolitan Landscape, recently acquired by the Prado. Fortuny’s watercolours are seen at their best in two examples of Landscape at Portici from this period (one exhibited for the first time), and in his portraits of Cecilia de Madrazo and Emma Zaragoza.

The participation of major institutions around the world has ensured the outstanding quality of this exhibition. The special collaboration with the Museo Fortuny in Venice and the Museu Nacional d’Art de Catalunya has been particularly important due to the large number of loans from those museums.

Years of training in Rome (1858-61)

Years of training in Rome (1858-61)
Sand with Mountain Line. Morocco
Fortuny y Marsal, Mariano
Ca. 1862-1864. Watercolour on paper, 262 x 373 mm.
Museo Nacional del Prado

The son and grandson of craftsmen, orphaned at a very young age, Fortuny developed exceptional technical skills during his initial training. Following his early studies in painting at the municipal school in Reus, in 1853 he embarked on an academic training at the School of Fine Arts in Barcelona. From 1858 a period in Rome as a grant student of the Provincial Council of Barcelona introduced him to the great works of the Renaissance and Baroque. He also attended the Accademia Gigi in Rome where he produced life studies of nudes that reveal his skilled ability to depict bodies combined with a notable expressivity arising from his mastery of both pen and pencil. Fortuny’s abilities as a watercolourist are already evident in Il contino, a work in which the depiction of a young man in 18th-century dress in a monumental garden (the Villa Borghese in Rome) anticipates his subsequent genre compositions. Odalisque reflects the artist’s mastery of the nude of a particularly sensual type, depicted with a degree of freedom and realism greater than that seen in his works produced in Barcelona.

Africa and the discovery of painting (1860 and 1862)

Africa and the discovery of painting (1860 and 1862)
The Battle of Wad-Rass
Fortuny y Marsal, Mariano
1860 - 1861. Oil on paper attached to cardboard, 54 x 185 cm.
Museo Nacional del Prado

The Provincial Council of Barcelona sent Fortuny to Morocco to compile graphic information for subsequent paintings on the most notable achievements in the Spanish-Moroccan War, in which Catalan volunteer troops were fighting. In Morocco from February 1860, Fortuny followed the campaign, witnessing and subsequently painting The Battle of Wad-Ras. At the same time he was also notably attracted by local customs and peoples. He returned in 1862 and made numerous sketches in preparation for The Battle of Tétouan, again for the Provincial Council, a large-format work that remained unfinished.

The discovery of North Africa’s bare, sweeping spaces, its intense light and dazzling colour produced a radical change in Fortuny’s painting. This is evident in both his works painted from life and those subsequently executed in the studio from sketches, his memory and his imagination. In the latter type he offered original depictions of aspects of Arab life that had appealed to him for their picturesque or enigmatic nature.

Between Spain and Italy (1863-68)

Between Spain and Italy (1863-68)
Fantasy on Faust
Fortuny y Marsal, Mariano
1866. Oil on canvas, 40 x 69 cm.
Museo Nacional del Prado

After spending some months in Barcelona, Fortuny returned to Rome where he continued to work on Arab themes and also painted oils and watercolours of the local people from the countryside around the city. These works make use of a realist style inspired by the work of some of the artists of the Neapolitan School which he had seen at the First Italian National Exhibition in Florence in 1861 and in the exhibitions he visited in 1863. Fortuny occasionally painted portraits, notable for their interest in subtle nuances of colour. He was also commissioned to paint one of the ceilings in the Parisian residence of Queen María Cristina de Borbón, for which he devised an original solution. That work is displayed here for the first time in its original position as a ceiling painting, allowing for its complete visual comprehension. During one of Fortuny’s periods in Madrid, where in 1867 he married Federico de Madrazo’s daughter Cecilia de Madrazo, he painted one of his most interesting works of this period, Fantasy on Faust. This is an outstanding example of the vivid imagination and vibrant brushstroke which the artist employed to execute his studies in just a few hours, their fresh, skilful technique also evident in other oil paintings in this section.

Printmaking

Printmaking
Anchorite. Fourth state
Fortuny y Marsal, Mariano
1869. Etching and aquatint, 377 x 500 mm.
Museo Nacional del Prado 

Fortuny was exceptionally skilled in printmaking techniques. Following his initial use of lithography in 1857, in the 1860s he produced a remarkable series of etchings that can be considered one of his finest achievements. They depict Arab subjects, genre scenes and others of classical inspiration, all characterised by an expressive intensity that made full use of this technique’s different resources, which he had studied in the work of Ribera, Rembrandt and Goya. Following his first trip to North Africa, Fortuny realised that etching was particularly suited to conveying its mysterious atmosphere. This group of prints offers the finest and most true to life vision of orientalism to be found in European art. The Anchorite, one of the artist’s masterpieces, conveys the sense of both death and the desolation of nature. The complexity of this work is fully evident in the exhibition with the presence of the original copper plate, two proof states and an impression of the final state printed by Fortuny’s son.

Old Masters and the Prado (1866-68)

Old Masters and the Prado (1866-68)
Saint Andrew (copy after José de Ribera)
Fortuny y Marsal, Mariano
Ca. 1867. Oil on canvas, 80.5 x 65.5 cm.
Museo Nacional del Prado

While Fortuny embarked on a rigorous study of Old Master painting in Italy, where he copied works by various Renaissance and Baroque painters including Velázquez, it was in the Museo del Prado that he focused on them in a more sustained manner through his numerous copies. Fortuny particularly appreciated the Venetian and Flemish painters as well as the great masters of the Spanish School, whose colour and free brushstroke he admired. Among the latter he was interested in El Greco, a little appreciated artist at the time, even acquiring one of his paintings. Ribera and Velázquez were also the subject of various copies in oil and watercolour, works that reveal Fortuny’s mastery of anatomy, tactile qualities and colour. The artist he most appreciated was Goya, making numerous copies of his paintings. The penetration and quality of these interpretations is unique among painters of this time. Fortuny kept these copies in his studio as references for use in his own paintings and some of them achieved high prices at his posthumous sale.

International success (1868-70)

International success (1868-70)
The Choice of a Model
Fortuny y Marsal, Mariano
Hacia 1868-1874. Oil on panel, 50 x 80 cm, 50 x 80 cm.
Washington, National Gallery of Art, Washington, Corcoran Collection (William A. Clark Collection), 2015

Through his relationship with the art dealer Adolphe Goupil, Fortuny achieved a level of international success that reached its peak with The Spanish Wedding, a genre scene set in the time of Goya. In addition to that work he produced a large series of genre paintings of which the most elaborate, The Choice of Model (1868-74), was painted for his principal collector, William H. Stewart. In scenes of this type Fortuny evoked a world of beauty set in architecturally ornate interiors in which painting was evoked through homages to other artists. In parallel to the painstaking detail of these works, the artist continued to paint watercolours that enjoyed increasing success, making use of a range of technical resources with enormous freedom and refined colour and as a result completely transforming the prevailing approach to this medium. Finally, Fortuny’s dedicated practice of drawing sketches from life in his notebooks provided him with extremely useful material for use in his subsequent paintings and watercolours.

Granada (1870-72)

Granada (1870-72)
Old City Hall in Granada
Fortuny y Marsal, Mariano
1873. Oil on panel, 35 x 48.4 cm.
Granada, Museo de Bellas Artes de Granada. Colección Museística de la Junta de Andalucía

Following international success, a period of more than two years in Granada gave Fortuny the peace and tranquillity he desired, far from Paris and in a place of great beauty that inspired an exceptional group of paintings. First-hand observation gave rise to oil studies of nudes, quiet corners of the city, landscapes and flowers, in all of which he captured colour and light in a new way. He also produced more complex works in which he freely combined elements from different sources to create new spaces. These scenes, set in the medieval Islamic period, the Renaissance and the 18th century, are surprising for their juxtaposition of real, recognisable elements and others invented by the artist. In works of this type the quality of the buildings chosen as the settings, embellished with decorative objects studied in preliminary oil sketches and drawings, evokes a marvellous, self-absorbed universe in which Fortuny engaged in his creative activities during what he considered the happiest period of his life. 

The atelier

The atelier
Casket
First half of 13th century. Wood, overlaid with ivory and gilt bronze, 15 x 29.5 x 19.5 cm.
Torino, Palazzo Madama-Museo Civico d’Arte Antica

Having started in a relatively modest manner, Fortuny’s collecting activities developed in the 1860s, particularly after he began to meet antique dealers, connoisseurs and collectors. During his time in Andalusia his innate taste and criteria led him to acquire Hispano-Moresque works of enormous quality. Fortuny was attracted to a wide range of objects, particularly arms, ceramics, textiles, ivories, furniture and glass. A truly outstanding area is Islamic art, the core of his collection, while he also possessed excellent examples of the Italian and Spanish decorative arts as well as Japanese textiles, screens and prints. Fortuny’s great technical skills allowed him to work as a restorer and he even made several pieces that look antique, such as the sword on display in this gallery. The display of all these objects alongside his own creations in his studio in Rome resulted in a beautiful setting in which the textures, colours and reflections of the objects directly inspired his own creative activities.

The final years (1873-74)

The final years (1873-74)
The Painter's Children in the Japanese Room
Fortuny y Marsal, Mariano
1874. Oil on canvas, 44 x 93 cm.
Museo Nacional del Prado

In the last years of his life Fortuny returned to the Arab themes that he had depicted years before, now in a more synthetic manner and with greater dynamism and expressivity, achieved through more intense colour and freer brushstroke. He also turned his attention to subjects from daily life, as in Carnival on the Corso, Rome of 1873, and scenes of family life in the form of depictions of his wife and children in the months they spent in Portici near Naples. During that intensely active period Fortuny’s practice of working outdoors by the sea enabled him to fully grasp local colour and its relationship with the fall of light, leading him to depict coloured shadows. He also explored other directions, such as the aesthetic of the Far East, in oils and watercolours of an intimate nature, including The Artist’s Children in the Japanese Room. Fortuny’s sudden, premature death, which was received with consternation in Rome, gave rise to a cult of the artist and his work became widely known and appreciated over the following years. 

Fortuny (1838-1874)

Fortuny (1838-1874)
Bust of Mariano Fortuny
d'Épinay, Prosper
1869. Fired clay, 39 x 22 cm.
Museo Nacional del Prado

Mariano Fortuny, who was born in Reus in 1838 and died in Rome in 1874, was the most internationally celebrated 19th-century Spanish artist. His early discovery of light and colour in the broad open spaces of the North African landscape led him to focus on working from life, free from academic convention. In addition, his study of the old masters in Rome and in the Museo del Prado gave Fortuny a profound appreciation of the essence of painting. The virtuosity of his technique, which allowed him to reproduce the textures colours of objects and figures and the reflections on them with a new visual intensity, earned him enormous international success from 1869 onwards. The time the artist spent in Granada (1870-72) and in Portici near Naples (1874) led on to new discoveries in the depiction of figures outdoors and to a unique and distinctive assimilation of different influences, including that of Japanese art, in the different techniques in which he worked.

Fortuny’s contribution to watercolour, which was the most significant of the time, laid the way for the renewal of this technique in Spain, Italy and France and he himself treated it with a new freedom of stroke and chromatic intensity. As a draughtsman he captured the character of whatever lay before him through precise, immediate and eloquent strokes. His innovative approach to etching, based on a technique that emphasised nuances and values of light, made him the finest intaglio printmaker of the century after Goya. Finally, Fortuny’s activities as a collector, to which he applied his remarkable eye, allowed him to assemble an outstanding group of works, particularly Hispano-Moresque ones, which provided a source of ideas for his own creations. Installed in his atelier alonside his paintings, these works created an aesthetic environment that brought together art of the past with living creation in a new concept of the studio, close to the total work of art, which would become a model for his followers.

The preparation of this exhibition has been based on a rigorous study of various documentary archives never previously researched in a systematic manner. One of them, acquired by the Museo del Prado, has provided the basis for two complementary publications made possible with sponsorship from the Fundación María Cristina Masaveu Peterson: Volume I of the Epistolario del Archivo Madrazo en el Museo del Prado, and the biography Cecilia de Madrazo, light and memory of Mariano Fortuny (the latter also published in English). 

Artworks

1

Portrait of Mariano Fortuny

Federico de Madrazo

Oil on canvas, 54 x 42.5 cm

1867

Barcelona, Museu Nacional d´Art de Catalunya 

3

Mariano Fortuny

Altobelli e Molins, Roma

Photograph, 190 x 155 mm

Ca. 1859-1860

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

4

Nude viewed from behind with sculpture

Mariano Fortuny

Pencil and charcoal on paper, 427 x 307 mm

Ca. 1861-1862

Paris, Musée d´Orsay, legs d´Henriette Fortuny, 1950

5

Nude male figure. Boy playing the flute

Mariano Fortuny

Conté crayon on paper, 610 x 465 mm

1859

Barcelona, Reial Acadèmia Catalana de Belles Arts de Sant Jordi 

6

Odalisque

Mariano Fortuny

Oil on cardboard, 569 x 810 mm

1861

Barcelona, Museu Nacional d´Art de Catalunya

7

Study for a Crucifixion

Mariano Fortuny

Pencil, charcoal and white chalk on paper, 525 x 450 mm

1860

Barcelona, Reial Acadèmia Catalana de Belles Arts de Sant Jordi 

8

Young male nude in profile meditating with sculpture

Mariano Fortuny

Pencil and white chalk on paper, 426 x 307 mm

Ca. 1861-1862

© Castres. Musée Goya, Musée d´art hispanique

9

Il Contino

Mariano Fortuny

Watercolour on paper, 565 x 390 mm

1861

Barcelona, Museu Nacional d´Art de Catalunya

11

Fortuny and his friends dressed as Moroccans

Anonymous

Photograph, 190 x 250 mm

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

12

View of Tetouan

Mariano Fortuny

Wash on paper, 500 x 1500 mm

1860

Barcelona, Museu Nacional d´Art de Catalunya 

14

Arab Fantasia

Mariano Fortuny

Oil on canvas

1863      

Madrid, Colección Arango

16

Arab House, Tangiers

Mariano Fortuny

Watercolour and pencil on paper, 125 x 190 mm

Ca. 1862‒ 1865

Madrid, Biblioteca Nacional de España

17

Arab Camp

Mariano Fortuny

Watercolour on paper, 127 x 186 mm

Ca. 1862

© Castres. Musée Goya, Musée d´art hispanique

18

Camels reposing

Mariano Fortuny

Watercolour, 210 x 375 mm

1865

New York, Lent by The Metrolopitan Museum of Art, Catharine Lorillard Wolfe Collection, Bequest of Catharine Lorillard Wolfe, 1887 (87.15.76)

19

Kabyle Village. Lookout Post

Mariano Fortuny

Watercolour on paper

Ca. 1860‒ 1862

Madrid, Colección Gerstenmaier

20

Moroccan Farrier

Mariano Fortuny

Oil on canvas, 43.5 x 64 cm (85 x 107 cm with frame)

Ca. 1863

Barcelona, Private Collection

21

Mariano Fortuny

Belli, Roma

Albumen print, 104 x 62 mm

1866

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

22

The Fonte Gaia in the Piazza del Campo in Siena, detail of left side

Mariano Fortuny

Watercolour and pencil on paper, 177 x 128 mm

1866

Rome, Galleria Carlo Virgilio & C. S.n.l.

23

The Fonte Gaia in the Piazza del Campo in Siena, detail of right side

Mariano Fortuny

Watercolour and pencil on paper, 177 x 129 mm

1866

Rome, Galleria Carlo Virgilio & C. S.n.l.

25

Mirope Savati (Madame Gaye)

Mariano Fortuny

Oil on canvas, 137.2 x 100.3 cm

1865

New York, Lent by The Metropolitan Museum of Art, Gift of Alfred Corning Clark, 1889 (89.22)

26

Men lying in the Street

Mariano Fortuny

Pen, pencil, ink and wash on paper, 190 x 257 mm

Ca. 1867

Paris, Musée d’Orsay, legs d’Henriette Fortuny, 1950

27

El Escorial

Mariano Fortuny

Watercolour on paper, 300 x 470 mm

1868

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

31

Injured Picador

Mariano Fortuny

Watercolour and pencil on paper, 255 x 354 mm

Ca. 1867-1868

London, © The British Museum, London, bequeathed by Mariano Fortuny y Madrazo, the artist’s son, 1950

32

Souk of Tangiers

Mariano Fortuny

Watercolour on paper, 279 x 420 mm

1867

New York, On loan from The Hispanic Society of America

33

Arab Fantasia

Mariano Fortuny

Oil on canvas, 52 x 67 cm

1867

Baltimore, Maryland, The Walters Art Museum, 37.191

34

African Beach

Mariano Fortuny

Watercolour on paper, 315 x 610 mm

1867

Barcelona, Museu Nacional d´Art de Catalunya

37

Tangiers

Mariano Fortuny

Etching

1861

Granada, Colección Carlos Sánchez

38

Guarding the Kasbah, Tetouan

Mariano Fortuny

Etching, 218 x 170 mm

1869

Madrid, Biblioteca Nacional de España

39

Arab watching over his Friend’s Corpse

Mariano Fortuny

Etching and aquatint, 216 x 410 mm

1866

Madrid, Biblioteca Nacional de España

40

Dead Kabyl

Mariano Fortuny

Etching and aquatint, 215 x 410 mm

1867

Madrid, Biblioteca Nacional de España 

41

Idyll

Mariano Fortuny

Etching, 200 x 145 mm

1865

Madrid, Biblioteca Nacional de España 

42

Victory

Mariano Fortuny

Etching, 255 x 160 mm

1869

Madrid, Biblioteca Nacional de España 

43

Anchorite

Mariano Fortuny

Engraved copperplate with a coating of nickel

1869

Madrid, Calcografía Nacional, Real Academia de Bellas Artes de San Fernando

Anchorite. Second state
44

Anchorite. Second state

Mariano Fortuny

Etching and scraper, 377 x 500 mm

1869

Madrid, Museo Nacional del Prado 

Anchorite. Fourth state
45

Anchorite. Fourth state

Mariano Fortuny

Etching and aquatint, 377 x 500 mm

1869

Madrid, Museo Nacional del Prado 

47

Mariano Fortuny

Filippo Belli

Albumen print

1866

Paris, Bibliothèque nationale de France

48

Two Chained Prisoners (copy of Goya)

Mariano Fortuny

Wash on paper, 200 x 148 mm

Ca. 1866- 1868

Paris, Musée d’Orsay, legs d’Henriette Fortuny, 1950 

49

Chained Prisoner (copy of Goya)

Mariano Fortuny

Ink and wash on paper, 165 x 125 mm

Ca. 1866-1868

Barcelona, Museu Nacional d´Art de Catalunya

50

Chained Prisoner (copy of Goya)

Mariano Fortuny

Wash on paper, 183 x 143 mm

Ca. 1866- 1868

Barcelona, Museu Nacional d´Art de Catalunya

51

A Room in the Museo del Prado

Mariano Fortuny

Watercolour on paper, 177 x 255 mm

Ca. 1866- 1867

Private Collection  

52

Saint John the Baptist preaching (copy of Veronese)

Mariano Fortuny

Watercolour on paper, 53 x 44.2 cm

Ca. 1861

Barcelona, Colección Brugarolas

54

The Family of Charles IV, fragment (copy of Goya)

Mariano Fortuny

Oil on canvas, 220 x 100 cm

Ca. 1867

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny  

56

Sir Endymion Porter and Van Dyck (copy after Van Dyck)

Mariano Fortuny

Watercolour on paper, 365 x 450 mm

Ca. 1866‒ 1867

Paris, Musée d’Orsay, legs d’Henriette Fortuny, 1950

57

Pedro Mocarte (copy after Goya)

Mariano Fortuny

Oil on canvas, 75 x 56.5 cm

Ca. 1867- 1868

New York, On loan from The Hispanic Society of America 

58

The Coronation of the Virgin, fragment (copy of Velázquez)

Mariano Fortuny

Watercolour on paper, 423 x 540 mm

Ca. 1868

Paris, Musée d’Orsay, legs d’Henriette Fortuny, 1950

59

Innocent X (copy after Velázquez)

Mariano Fortuny

Pencil and watercolour on paper, 26.5 x 18.8 cm

1862

Barcelona, Museu Nacional d´Art de Catalunya 

60

Mars (copy of Velázquez)

Mariano Fortuny

Pencil and watercolour on paper, 277 x 163 mm

Ca. 1867- 1868

Freiburg, Musée d’art et d’histoire Fribourg

61

The Surrender of Breda, fragment (copy after Velázquez)

Mariano Fortuny

Watercolour on paper, 100 x 135 mm

Ca. 1868

Barcelona, Colección Mascor

62

Ricardo de Madrazo, Mariano Fortuny, José Domingo Irureta Goyena and Raimundo de Madrazo

Bertall& Cie (attributed)

Albumen print, 105 x 134 mm

Ca. 1870

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

63

Fawn

Mariano Fortuny

Pencil and wash on paper. In Fortuny Album 5: 32 sheets, 87 x 113 mm

Ca. 1870

Paris, Musée d’Orsay, legs d’Henriette Fortuny, 1950

64

Musician playing a rebab / Arab Prisoner with his Feet in Stocks on the Floor)

Mariano Fortuny

In  Mariano Fortuny Album 1: 70 sheets mainly with pencil drawings. Pencil on paper, 96 x 137 mm. (x2)

Ca. 1870- 1871

Paris, Musée d’Orsay, legs d’Henriette Fortuny, 1950

65

The Tapestry Seller

Mariano Fortuny

Watercolour on paper, 590 x 850 mm

1870

Montserrat, Museo de Montserrat. Donación J. Sala Ardiz

66

African Chief

Mariano Fortuny

Oil on canvas, 41 x 32.9 cm

1870

Chicago, The Art Institute of Chicago, George F. Harding Collection

67

Magic Lantern

Mariano Fortuny

Wash and ink on paper, 230 x 307 mm

Ca. 1867- 1868

Madrid, Biblioteca Nacional de España 

68

Preparatory study for The Spanish Wedding

Mariano Fortuny

Ink and brown and black wash with touches of gouache, on paper, 297 x 436 mm

Ca. 1867

London, © The British Museum, London, bequeathed by Mariano Fortuny y Madrazo, the artist’s son, 1950

69

The Spanish Wedding

Mariano Fortuny

Oil on panel, 60 x 93.5 cm

1870

Barcelona, Museu Nacional d´Art de Catalunya

70

Cecilia de Madrazo Playing the Piano

Mariano Fortuny

Pen and wash on paper, 330 x 337 mm

1869

Barcelona, Museu Nacional d´Art de Catalunya

71

Portico, Church of San Ginés, Madrid

Mariano Fortuny

Oil on canvas, 60 x 96.5 cm

1868

New York, On loan from The Hispanic Society of America

72

A Street in Tangiers

Mariano Fortuny

Watercolour on paper, 382 x 508 mm

1869

Washington, National Gallery of Art, Corcoran Collection (William A. Clark Collection), 2015.143.12

73

The Choice of a Model

Mariano Fortuny

Oil on panel, 50 x 80 cm

1874

Washington, National Gallery of Art, Washington, Corcoran Collection (William A. Clark Collection), 2015

74

Opium Smoker

Mariano Fortuny

Watercolour on paper, 384 x 498 mm

1869

Saint Petersburg, The State Hermitage Museum, 2017

75

Faithful Friends

Mariano Fortuny

Watercolour on paper, 154 x 192 mm

1869

Baltimore, Maryland, The Walters Art Museum, 37.970

76

The Boy Joaquín Soriano y Barroeta

Mariano Fortuny

Watercolour on paper, 460 x 340 mm

1868

Madrid, Private Collection

79

Mariano Fortuny, family and friends in the Courtyard of the Lions in the Alhambra

Charles Mauzaisse

Albumen print

1871

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

80

The Carrera del Darro, Granada

Mariano Fortuny

Watercolour on paper, 266 x 348 mm

1871

London, © The British Museum, London, bequeathed by Mariano Fortuny y Madrazo, the artist’s son, 1950

81

Landscape of Granada

Mariano Fortuny

Oil on canvas, 80 x 45 cm

Ca. 1871- 1872

Barcelona, Museu Nacional d´Art de Catalunya

82

Calle del Realejo Bajo, Granada

Mariano Fortuny

Oil on canvas, 16 x 28 cm

1870

Almería, Colección Vida Muñoz

84

Alameda del Salón, Granada

Mariano Fortuny

Pen and ink on paper, 214 x 312 mm

1871

London, © The British Museum, London, bequeathed by Mariano Fortuny y Madrazo, the artist’s son, 1950

86

Letter from Mariano Fortuny and Marín Rico to William Hood Stewart from Granada

Mariano Fortuny

Pen and wash on paper

1871

Dallas, Meadows Museum, SMU. Museum Purchase Thanks to gift from the Eugene McDermott Foundation and Mrs. Jo Ann Geurin Thetford, MM.2013.02

87

Nude Man

Mariano Fortuny

Watercolour on paper, 320 x 230 mm

1871

© Castres. Musée Goya, Musée d´art hispanique, Musée d´art hispanique 

88

Vegetable Seller in Granada

Mariano Fortuny

Oil on panel, 17.4 x 9 cm

Ca. 1872

Almería, Colección Vida Muñoz

89

Old City Hall in Granada

Mariano Fortuny

Oil on panel, 35 x 48.4 cm

1873

Granada, Museo de Bellas Artes de Granada. Colección Museística de la Junta de Andalucía

91

Girl in the Artist’s Garden, Granada

Mariano Fortuny

Oil on panel, 19 x 13 cm

1872

Almería, Colección Vida Muñoz

92

Girl among Trees on the Cuesta del Rey Chico, Granada

Mariano Fortuny

Oil on canvas, 79.5 x 45 cm

Ca. 1871-1872

Alcoy, Private collection

94

Study of a Saddle

Mariano Fortuny

Oil on panel, 12 x 8.69 cm

Brussels, Courtesy of Jacques de la Béraudiére

95

Shadow of a Lamp Post in a cobbled Street

Mariano Fortuny

Oil on panel, 13 x 18 cm

Ca. 1870- 1872

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

96

Tribunal of the Alhambra

Mariano Fortuny

Oil on canvas, 75.2 x 59 cm

1871

Figueras, work on loan from the Fundación Gala-Dalí 

97

Noblemen's Pastimes

Mariano Fortuny

Oil on canvas, 41 x 55 cm

Ca. 1870- 1871

Moscow, The Pushkin Museum of Fine Arts

98

Luncheon at the Alhambra

Mariano Fortuny

Oil on canvas, 87.5 x 107 cm

1872

Barcelona, Private Collection

99

Garrotted Man

Mariano Fortuny

Wash on paper, 310 x 216 mm

1870

© Castres. Musée Goya, Musée d´art hispanique, Musée d´art hispanique

100

Gipsy Woman Dancing in a Garden, Granada

Mariano Fortuny

Oil on canvas, 46 x 56 cm

Ca. 1871- 1872

Madrid, Colección Arango

101

Fortuny’s Atelier in Villa Martorini, Rome

Anonymous

Albumen print, 380 x 270 mm

Ca. 1874

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny 

102

Fortuny’s Atelier in Villa Martorini, Rome

Anonymous

Albumen print, 275 x 380 mm

Ca. 1874

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny 

103

Mariano Fortuny and Cecilia de Madrazo in the large studio in Villa Martinori, Rome

Anonymous

Albumen print, 275 x 715 mm

Ca. 1874

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

104

The Battle of Issos

Brussels manufactory

Tapestry. Wool and silk, 328.4 x 438 cm

1560-1590

Zagreb, The Strossmayer Gallery of Old Masters. Croatian Academy of Sciences and Arts

105

Letter to Goyena with a drawing of the Salar vase

Mariano Fortuny

Ink and pen on paper, 315 x 432 mm

1871

Barcelona, Museu Nacional d´Art de Catalunya

106

Letter to Goyena with a drawing of a vase

Mariano Fortuny

Ink and pen on paper, 200 x 260 mm

1872

Barcelona, Museu Nacional d´Art de Catalunya

107

Sketch of a Renaissance-style helmet

Mariano Fortuny

Pen and grey ink wash on paper, 418 x 585 mm

Ca. 1863- 1866

Barcelona, Museu Nacional d´Art de Catalunya

108

Mirror

Wood and glass, 214 x 110 x 14 cm

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

109

Cassone (marriage chest)

Wood, 85 x 170 x 57 cm

Italy, 17th century

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

110

Long Moorish musket

Mariano Fortuny

Pencil and lead on paper, 162 x 250 mm

Ca. 1862- 1864

Barcelona, Museu Nacional d´Art de Catalunya

111

Turkish Textiles

Mariano Fortuny

Watercolour on paper, 255 x 356 mm

Ca. 1870- 1872

Barcelona, Museu Nacional d´Art de Catalunya

113

The Scoundrel

Mariano Fortuny

Watercolour, 463 x 365 mm

1869

Baltimore, Maryland, The Walters Art Museum, 37.965 

114

The Lover of Prints (Antiquaries)

Mariano Fortuny

Oil on canvas, 47.1 x 66.3 cm

Ca. 1865

Boston, Museum of Fine Arts. S. A. Denio Collection-Sylvanus Adams Denio fund and General Income

115

Fortuny tile

Gold lustre, 90 x 46 cm

Málaga, 1408- 1417

Madrid, Instituto de Valencia de Don Juan 

116

The Lover of Prints

Mariano Fortuny

Oil on panel, 53 x 71 cm

1867

Moscow, The Pushkin Sate Museum of Fine Arts 

117

Musician

Mariano Fortuny

Watercolour on paper, 227 x 141 mm

Ca. 1869-1870

London, © The British Museum, London, bequeathed by Mariano Fortuny y Madrazo, the artist’s son, 1950

118

The Chinese Vase

Mariano Fortuny

Watercolour on paper, 330 x 244 mm

1870

Baltimore, Maryland, The Walters Art Museum, 37.148

119

The Studio of Mariano Fortuny in Rome

Ricardo de Madrazo y Garreta

Oil on canvas, 100 x 75.4 cm

1874

Barcelona, Museu Nacional d´Art de Catalunya

120

Burgonet

Follower of Filippo Negroli (Milán, 1510-1579)

Steel and gold

Milan, after 1532

Saint Petersburgo, Museo Estatal del Hermitage, 2017

121

Bazu band (vambrace and gauntlet)

Iron and false damascening, 54 x 18 cm

Persia (Iran), 18th century (?)

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

122

Pesh-quabz (dagger)

Iron and false damascening, 45, 5 x 9 cm

Persia (Iran), 18th century (?)

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

123

Sipar (shield)

Iron and false damascening, 38 x 7 cm

Persia (Iran), 1128-1714

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

124

Kulah khud (helmet)

Iron and false damascening, 62 x 20 cm

18th century (?)

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

125

Kulah khud (helmet)

Iron and false damascening, 60 x 20 cm

Persia (Iran), 18th century

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

126

Kulah khud (helmet)

Iron and false damascening, 60 x 20 cm

Persia (Iran), 18th century

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

127

Sipar (shield)

Iron and false damascening, 61 x 7 cm

Persia (Iran), 17th century

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

128

Death Mask of Beethoven

Josef Danhauser

Plaster, 24 x 18 x 15 cm

1827

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

129

Nasrid sword

Mariano Fortuny

Several metals and ivory, 112 x 11.5 cm

Barcelona, Museu Nacional d´Art de Catalunya

130

Sgabello

Wood, 110 x 47 x 34 cm

Italy

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

131

Casket

Wood, overlaid with ivory and gilt bronze, 15 x 29.5 x 19.5 cm

First half of 13th century

Torino, Palazzo Madama-Museo Civico d’Arte Antica

132

Glass with winged stem

Amethyst glass, 13,5 cm (height)

Second half of 16th century or first half of 17th century

Venice, Fondazione Musei Civici di Venezia, Museo del Vetro

133

Glass with spiral fluted bowl

Colourless glass with blue applied decoration, 16 cm height

First half of 17th century  

Venice, Fondazione Musei Civici di Venezia, Museo del Vetro 

134

Tall-stem glass

Greyish glass, 17,2 cm (height)

19th century

Venice, Fondazione Musei Civici di Venezia, Museo del Vetro 

135

Large footed glass

Glass, enamel and gold, 16,8 cm height

Late 15th century or first quarter of 16th century

Venice, Fondazione Musei Civici di Venezia, Museo del Vetro 

136

Jug

Smoked glass and gold leaf, 22,8 cm (height)

1873-77

Venice, Fondazione Musei Civici di Venezia, Museo del Vetro 

137

Sugar bowl

Compagnia Venezia Murano

Amethyst glass with amethyst and blue applied glass decoration, 11.5 cm height

19th century

Venice, Fondazione Musei Civici di Venezia, Museo del Vetro (Cl. VI n. 00921)

138

Mariano Fortuny and his Daughter María Luisa

Anonymous

Gelatin print, 102 x 80 mm

Ca. 1872

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

139

Arabs ascending a Hill

Mariano Fortuny

Oil on canvas, 64.5 x 138 cm

Ca. 1872

New York, On loan from The Hispanic Society of America

140

Arab Fantasia outside the Gate of Tangiers

Mariano Fortuny

Oil on canvas, 102 x 182 cm

1871- 1872

Santiago, Colección Museo Nacional de Bellas Artes de Chile

141

Arab Musicians

Mariano Fortuny

Oil on canvas, 61 x 100 cm

1874

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

142

Arab leaning against a Tapestry

Mariano Fortuny

Oil on canvas, 150 x 75 cm

1873

Doha, National Collection of Qatar

143

Moroccan washed up on the Beach

Mariano Fortuny

Watercolour, Ink and wash on paper, 220 x 440 mm

Ca. 1872

Madrid, Biblioteca Nacional de España

144

Arab lying by a Window

Mariano Fortuny

Pen and wash on paper, 351 x 252 mm

Ca. 1872- 1874

London, © The British Museum, London, bequeathed by Mariano Fortuny y Madrazo, the artist’s son, 1950

145

Carnival on the Corso, Rome

Mariano Fortuny

Oil on panel, 13 x 20 cm

1873

Almería, Colección Vida Muñoz

146

Mutilated Arab Prisoner by a Warden

Mariano Fortuny

Pencil and watercolour on paper

Ca. 1868- 1869

Barcelona, Private Collection  

148

View of the garden of Villa Martinori, Rome

Anonymous

Albumen print, 280 x 380 mm

Ca. 1874

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

149

Bust of Francesco Michetti by Vincenzo Gemito

Mariano Fortuny

Pen and wash on paper, 21.1 x 30 cm

Ca. 1873- 1874

London, © The British Museum, London, bequeathed by Mariano Fortuny y Madrazo, the artist’s son, 1950

150

Path

Mariano Fortuny

Oil on panel, 13 x 19 cm

Ca. 1872

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

151

Street in Granatello, Portici

Mariano Fortuny

Oil on panel, 13 x 19 cm

1874

Almería, Colección Vida Muñoz

152

Seascape

Mariano Fortuny

Oil on canvas, 73.6 x 32.2 cm

1874

Dallas, Meadows Museum, SMU. Algur H. Meadows Collection, MM.71.05

153

Two Women viewed from behind approaching a Port

Mariano Fortuny

Wash on paper, 315 x 213 mm

Ca. 1872- 1874

Paris, Musée d’Orsay, legs d’Henriette Fortuny, 1950

154

Emma Zaragoza

Mariano Fortuny

Watercolour on paper, 350 x 245 mm

1874

Barcelona, Private collection. Cortesía de galería Rocío Tassara y Asociados

155

Study of Bathers at Portici

Mariano Fortuny

Oil on panel, 13 x 19 cm

1874

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

156

Nude on the Beach at Portici

Mariano Fortuny

Oil on panel, 13 x 19 cm

1874

Madrid, Museo Nacional del Prado

157

Nude Boy on the Beach at Portici

Mariano Fortuny

Oil on panel, 7.5 x 13 cm

1874

San Sebastián, San Telmo Museoa. Donostia Kultura

158

Nude Boy on the Beach at Portici

Mariano Fortuny

Oil on canvas, 12.6 x 23.1 cm

1874

Guecho, Private Collection

159

Nude Boy viewed from behind on the Beach at Portici

Mariano Fortuny

Oil on panel, 5 x 7.5 cm

1874

Paris, Private Collection

161

Cecilia de Madrazo

Mariano Fortuny

Watercolour on paper, 520 x 380 mm.

1874

London, © The British Museum, London, bequeathed by Mariano Fortuny y Madrazo, the artist’s son, 1950

162

Lanscape at Portici

Mariano Fortuny

Watercolour on paper, 345 x 210 mm

1874

Almería, Colección Vida Muñoz

166

Cast of Mariano Fortuny’s Hand

Jerónimo Suñol

Wax, 21 x 15 cm

1874

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

167

Death mask of Mariano Fortuny

Jerónimo Suñol

Plaster, 30 x 16 x 18 cm

1874

Venice, Fondazione Musei Civici di Venezia, Museo Fortuny

168

Fortuny on his deathbed

Attributed to M. Sala

Albumen print, 18.2 x 24 cm

1874

Granada, Colección Carlos Sánchez 

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