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Abiertas las solicitudes para la estancia de investigación "Programa Profesor Martin Warnke 2025" en el #MuseoNacionaldelPrado. En colaboración con el Goethe-Institut Madrid www.museodelprado.es/recurso/prog... #art #investigación #museos
April 1, 2025 at 11:00 AM
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La maja vestida (The Clothed Maja) by Francisco de Goya y Lucientes (Spanish) - Oil on canvas / 1800-1807 - Museo Nacional del Prado (Madrid) #womeninart #art #goya #oilpainting #womensart #MuseoNacionaldelPrado #portraitofawoman #SpanishArt #artwork #FranciscoGoya #FranciscodeGoyayLucientes
“La maja vestida” (The Clothed Maja) is an oil painting on canvas created between 1800 and 1807 by the Spanish Romantic painter and printmaker Francisco Goya. It is a clothed version of the earlier “La maja desnuda,” which was created between 1795 and 1800. An unidentified curvaceous fair-skinned lady wearing delicate transparent snow white clothing and a golden yellow jacket with black decorations lies on a light green velvet divan with cushions and a spread. There has been a great variety of opinions as to who the sitter is, but her anonymity is maintained in all of the inventories listing this work. Legend claims she was Goya’s rumored mistress Duchess of Alba, although some have identified her as Pepita Tudó, the mistress from 1797 of Manuel Godoy, Prince of Peace and the First Secretary of State of Spain. This painting is first mentioned in 1808 along with its companion, La maja desnuda, in the inventory of the property of Manuel Godoy carried out by Frédéric Quillet, an agent of José Bonaparte during the French occupation of Spain. In 1813, the two Majas are described as Gypsies in the inventory of Godoy´s properties confiscated by King Fernando VII. The paintings were considered by the French ruling class to be "obscene.” The clothed version is more summarily painted than the nude work, which has more subtle transparencies and tonal gradations, as well as some differences in the position of the figure. This work entered the Prado Museum in 1901 by way of the Academy of Fine Arts of San Fernando, where it had been from 1808 to 1813, and again from 1836 to 1901. In the hiatus between those two periods, it was sequestered by the Inquisition.
March 11, 2025 at 11:33 AM
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Amalia de Llano y Dotres, Countess of Vilches by Federico de Madrazo y Kuntz (Spanish) - Oil on canvas / 1894 - Museo Nacional del Prado (Madrid, Spain) #womeninart #art #portraitofawoman #womensart #beauty #SpanishArt #oilpainting #MuseoNacionaldelPrado #MuseodelPrado #FedericodeMadrazo #Madrazo
Amalia de Llano y Dotres was thirty-two years old when Madrazo painted her portrait. On October 12th 1839, she married Gonzalo José de Vilches y Parga, who was to become the first Count of Vilches in 1848. The Countess of Vilches was an outstanding defender of the monarchist cause since the fall of Isabella II, Queen of Spain. Furthermore, she was an amateur writer and also published the novels Berta and Ledia. The Countess was also a close friend of Federico de Madrazo, which could explain the unique beauty and exquisite refinement that the painter achieved in this portrait. She frequented the Madrazo house, especially on their musical soirées, in which she even sang accompanied by the piano. In this portrayal, Madrazo reached his most painstaking artistic refinement, at the service of one of the most beautiful and charming women of Isabelline Madrid. The portrait is imbued with a distinctive French flair, very much suited to the elegance of the model. Madrazo learnt this technique during his training period in Paris with French painter Ingres. The lady’s pose conveys a degree of sensuality quite foreign to the Spanish tradition. However, the Countess’ flirtatious pose is informal, which provides the work with a sense of graceful movement duly calculated detail by the artist. Due to the illumination used by Madrazo, the paleness of the female complexion both stands out against the marked darkness of the background. Madrazo's artistic skills can be seen with the subtlety of some of the gestures, such as the delicacy with which she holds the fan, the almost imperceptible contact of her fingers with her oval face and her charming smile, mirrored by her seductive gaze. This masterpiece of Spanish Romantic portraiture is considered the most emblematic work of the 19th-century collections of the Museo del Prado.
March 1, 2025 at 6:03 PM
“Boys on the Beach.” Joaquín Sorolla y Bastida (Spanish; 1863–1923). Oil on canvas, 1909. Museo Nacional del Prado, Madrid, Spain.

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October 12, 2024 at 9:43 AM
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Libro de el Museo del Prado que me han regalo como recuerdo 💕💕💖💖 @museodelprado.es #HAPPYHAPPY #Arte #Art #museodelprado #MuseoNacionalDelPrado
September 8, 2025 at 12:42 PM
“Mars.” Diego Velázquez (Spanish; 1599–1660). Oil on canvas, ca. 1638. Museo Nacional del Prado, Madrid, Spain.

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June 6, 2024 at 11:43 PM
"The Adoration of the Shepherds.” Anton Raphael Mengs (German; 1728–1779). Oil on oak panel, 1770. Museo Nacional del Prado, Madrid, Spain.

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October 19, 2024 at 2:40 PM