home › Tires and wheels › Portrait of a man with a hand on his chest. El Greco - "Portrait of a gentleman with a hand on his chest"

Portrait of a man with a hand on his chest. El Greco - "Portrait of a gentleman with a hand on his chest"

About the life of the Cretan Domenico Theotokopuli, the artist who conquered the Spanish Toledo under the name of El Greco, that is, the Greek, there is almost no evidence left. The "folly" of his character and the strange pictorial manner amazed many and forced them to take up a pen - but only a few letters have survived. One of them contains the following lines: “... the weather was beautiful, the spring sun gently shone. It gave joy to everything, and the city looked festive. Imagine my surprise when I entered El Greco's workshop and saw that the shutters on the windows were closed, and therefore it was difficult to see what was around. El Greco himself sat on a stool, doing nothing, but awake. He did not want to go out with me, because, according to him, the sunlight interfered with his inner light ... "

There is almost no evidence of Domenico the man left, only echoes: that he lived in grand style, kept the richest library, read many philosophers and also sued customers (he was loved, but more often not understood), died almost in poverty, like thin rays daylight break through the cracks in the "closed shutters" of his life. But they do not distract from the main thing - from the inner light that fills the paintings of the artist El Greco. Especially portraits.

They do not have landscapes that open behind the person being portrayed, there is no abundance of details that attract the curious eye. Even the hero's name is often left out of the picture. Because all this would prevent seeing the face. And eyes, deep, dark, looking straight at you. It is difficult to break away from them, and if you force yourself, then to see the gesture - and again stop in thought.

Such is the "Portrait of a gentleman with a hand on his chest" (1577-1579), written by the master shortly after he moved to Toledo. This portrait is recognized as one of the best in Spanish painting of the 16th century. Outlander El Greco created "bright images Spanish life and stories", which depict "genuine living beings, combining in themselves everything that should be admired in our people, everything heroic and indomitable, with those opposite properties that cannot but be reflected without destroying its very essence" (A. Segovia). Aristocrats from the ancient families of Toledo became the true heroes of El Greco, he saw them Inner Light- their nobility and dignity, fidelity to duty, intelligence, sophistication of manners, courage, external restraint and internal impulse, the strength of a heart that knows what it lives and dies for ...

Day after day, visitors to the Prado gallery stop in front of the unknown hidalgo, surprised, with the words: “How alive ...” Who is this knight? Why does he open his heart with such sincerity? Why are his eyes so attractive? And this oath gesture? And the hilt of the sword?.. Maybe these questions gave rise to the legend that the one depicted in the portrait is another great Spaniard: Miguel de Cervantes. A warrior and writer who told the world the story of a knight of a sad image, who was given the same divine gift as El Greco - to see people as they should be, to see their inner light ...

to the magazine "Man Without Borders"

Svetlana Obukhova

There is almost no evidence of Domenico the man, only echoes: that he lived in grand style, kept the richest library, read many philosophers and also sued customers (he was loved, but more often not understood), died almost in poverty, like thin rays of daylight light breaks through the cracks in the "closed shutters" of his life. But they do not distract from the main thing - from the inner light that fills the paintings of the artist El Greco. Especially portraits.

Such is the "Portrait of a gentleman with a hand on his chest" (1577-1579), written by the master shortly after he moved to Toledo. This portrait is recognized as one of the best in Spanish painting of the 16th century. The foreigner El Greco created "vivid images of Spanish life and history", which depict "genuine living beings, combining everything that is to be admired in our people, everything heroic and indomitable, with those opposite properties that cannot but be reflected, without destroying its very essence” (A. Segovia). Aristocrats from the ancient families of Toledo became the true heroes of El Greco, he saw their inner light - their nobility and dignity, fidelity to duty, intelligence, sophistication of manners, courage, external restraint and inner impulse, the strength of the heart, which knows what lives and dies for. ..

And other paintings from the Prado Museum in the Hermitage...

El Greco "Christ Embracing the Cross" 1600 - 1605

Depicted against the background of a stormy sky typical of El Greco, Christ hugs the cross with his graceful arms, looking up with calm doom. The painting was a great success, and many versions of it were created in El Greco's workshop.

El Greco "The Holy Family with St. Anne and Little John the Baptist" c. 1600 - 1605

The late period of El Greco's work is characterized by the use of piercing colors and flashes; space is completely filled with figures that obscure the horizon. Forms drawn with a vibrating stroke lose their materiality. Little John the Baptist calls the viewer to silence, so as not to disturb the peace of the infant Christ...

Velasquez - Portrait of Philip IV Portrait of King Philip IV. 1653-1657

Fundamentals of psychological portrait in European art laid down Spanish painter Diego Rodriguez de Silva Velazquez. He was born into a poor noble family in Seville, studied with Herrera the Elder and Pacheco. In 1622 he first came to Madrid. In a practical sense, this trip was not very successful - Velasquez did not find a worthy place for himself. He hoped to meet the young King Philip IV, but the meeting did not take place. Nevertheless, rumors about the young artist reached the court, and already in the next year, 1623, the first minister, the Duke de Olivares (also a native of Seville), invited Velázquez to Madrid to paint a portrait of the king. This work, which has not come down to us, made such a pleasant impression on the monarch that he immediately offered Velázquez the position of court painter. Soon between the king and Velasquez there were quite friendly relations, which was not very typical for the orders that prevailed at the Spanish court. The king who ruled the greatest empire in the world was considered not a man, but a deity, and the artist could not even count on noble privileges because he earned his living by working. Meanwhile, Philip ordered that henceforth only Velasquez painted his portraits. The great monarch was surprisingly generous and supportive of Velasquez. The artist's studio was located in the royal apartments, and a chair for His Majesty was installed there. The king, who had the key to the workshop, came here almost every day to observe the work of the artist While in the royal service from 1623 to 1660, Velasquez painted about a dozen portraits of his overlord. Of these, a little more than 10 paintings have come down to us. Thus, on average, Velasquez portrayed his overlord about once every three years. Painting portraits of the king was the work of Velasquez, and he did this job perfectly. Thanks to this, we have a complex of works that is unique in its kind: on the portraits of Velasquez, one can trace life path King Philip as clearly as it later became a custom only in the age of photography. Evolution is clearly visible in the artist's canvases. Firstly, the king himself is changing, 18-year-old in the first portrait and 50-year-old in the last one, his face bears the imprint of age and spiritual changes. Secondly, the artist's perception of his model deepens, turning from superficial to insightful. Over time, the way the model is presented changes and artistic techniques. Velazquez's manner is transformed under the influence of his own creative growth, as well as under the influence of modern domestic and foreign traditions. In this bust portrait, Philip IV is shown against a dark background wearing a black robe with a white collar that highlights the monarch's face. Velazquez avoids ostentatious luxury in the portrait of the king and shows " human face» the monarch without any flattery or court trickery. We clearly feel that the person looking at us from the canvas is unhappy, last years reigns were not easy for the king. This is a person who has known disappointment, but at the same time - a person whose flesh is full of innate greatness, which nothing can shake. Another great artist, a Spaniard to the marrow of his bones - Pablo Ruiz Picasso says this about the image of the Spanish king: “we cannot imagine another Philip IV, except for the one created by Velazquez ...”

"Portrait of King Philip IV" (c. 1653 - 1657)

One of latest portraits monarch. It is interesting to note that there is not a single element here that speaks of the royal status of the person being portrayed. Velazquez served Philip IV for almost forty years - from 1623 until his death, he painted portraits of the king and his family, large plot canvases for the Royal Collection.

Diego Velasquez "Portrait of the Jester Don Diego de Acedo" (El Primo) c. 1644

Diego Velasquez "Portrait of Queen Marianne of Austria" 1652-1653

Titian (Tiziano Vecellio) "Venus with Cupid and Organist" 1555

The musician plays, sitting at the feet of Venus and admiring the naked body of the goddess, an abstract game with Cupid. Some saw in this picture a purely erotic work, while others perceived it symbolically - as an allegory of feelings, where sight and hearing act as tools for understanding beauty and harmony. Titian wrote five versions of this theme.

Paolo Veronese (Paolo Cagliari) - Penitent Mary Magdalene 1583

After her conversion, Mary Magdalene dedicated her life to repentance and prayer, withdrawing from the world. On this canvas, she is depicted looking into the sky and flooded divine light. The picture is written in thick dark colors, characteristic of Veronese's style in the late period of his work. Before getting into the Spanish Royal Collections, the work belonged to the English king Charles I (executed in 1649)

Anthony van Dyck "Portrait of a man with a lute" 1622-1632

Anthony van Dyck owes his fame precisely to the portrait genre, which in the hierarchy European painting occupied a rather low position. However, in Flanders by this time a tradition of portrait art had already developed. Van Dyck painted hundreds of portraits, several self-portraits, and became one of the creators of the ceremonial portrait style of the 17th century. In portraits of his contemporaries, he showed their intellectual, emotional world, spiritual life, the living character of man.
The traditional model for this portrait is Jacob Gautier, a lutenist at the English court from 1617 to 1647, but the presence of a sword, and to a greater extent, the stylistic characteristics of the work, indicate that it must be dated much earlier than Van Dyck's trip to London, which casts doubt on this theory. The presence of a musical instrument does not necessarily mean that the model was a musician. As a symbol, musical instruments were often depicted in portraits, as an indication of the intellectual refinement and sensitivity of the depicted.

Juan Bautista Maino "The Adoration of the Shepherds" 1612-1614

One of Maino's masterpieces. In collection State Hermitage another version of this story, written by Maino, is kept. The artist was born in Pastrana (Guadalajara) and lived in Rome from 1604 to 1610. In this work, written on his return to Spain, one can feel the influence of Caravaggio and Orazio Gentileschi. In 1613, Maino became a member of the Dominican order, and the painting entered the altar cycle of the monastery of St. Peter the Martyr in Toledo.

Georges de Latour "The Blind Musician with the Lyre" ca. 1625- 1630

Latour depicts an old blind musician playing a hurdy-gurdy. He repeated this story many times. The artist, who worked under the influence of the style of Caravaggio, enthusiastically reproduces the details - the pattern that adorns musical instrument, wrinkles on the face of a blind man, his hair.

Peter Paul Rubens, Jacob Jordaens "Perseus Releasing Andromeda" ca. 1639-1640

Francisco de Goya "Portrait of Ferdinand VII" 1814-1815

After the defeat of Napoleon in 1814, Ferdinand VII returned to the Spanish throne. In the portrait, he is depicted in a royal mantle lined with ermine, with a scepter and the orders of Carlos III and the Golden Fleece.
Ferdinand VII, who ruled the country until 1833, founded the Prado Museum in 1819.

Francisco de Goya "Maria von Santa Cruz" 1805

Maria von Santa Cruz, the wife of the first director of the Prado, was one of the most revered women in Spain of her time.
In a portrait of 1805, Goya depicted the Marquise as the muse of lyric poetry, Euterpe, reclining on a canopy and with a lyre in her left hand. The choice of just such an image is due to the Marquise's passion for poetry.

Francisco Goya - "Autumn (Grape Harvest)" 1786 - 1787

Francisco Goya - The Grape Harvest. fragment

In 1775 - 1792, Goya created seven series of cardboard tapestries for the Escorial and Prado palaces on the outskirts of Madrid. This painting, in particular, belongs to the series of seasons and was intended for the dining room of the Prince of Asturias in the Prado. Goya portrayed the classic plot as an everyday scene, which reflects the nature of the relationship between different classes - the picture shows the owners of the vineyard with their son and maid.

Francisco Goya "Portrait of General José de Urrutia" (c. 1798)

José de Urrutia (1739 - 1809) - one of the most prominent Spanish military leaders and the only army officer of non-aristocratic origin in the 18th century who reached the rank of captain-general - is depicted with the Order of St. George, which he was awarded by the Russian Empress Catherine the Great for participating in the capture of Ochakov during during the Crimean campaign of 1789.

Peter Paul Rubens "Portrait of Marie de Medici". OK. 1622-1625.

Maria Medici (1573 - 1642) was the daughter of the Grand Duke of Tuscany Francesco I. In 1600 she became the wife of the French King Henry IV. Since 1610, she was regent for her young son, the future King Louis XIII. Rubens she commissioned a series of works glorifying herself and her late husband. The portrait shows the queen wearing a widow's headdress and against an unfinished background.

Domenico Tintoretto "Woman Baring Her Breasts" ca. 1580-1590

Viscente Lopez Portagna "Portrait of Felix Maximo Lopez, first organist of the Royal Chapel" 1820

Spanish neoclassical painter, while retaining traces of the Rococo style. Lopez was considered one of the best portrait painters of his time, second only to Francisco de Goya. He began studying painting in Valencia at the age of 13, and four years later he won several first prizes at the San Carlos Academy, which earned him a scholarship to study at the prestigious Royal Academy in the capital. fine arts San Fernando. After completing his studies, Lopez worked for several years in the workshop of Mariano Salvador Maella, his teacher. By 1814, after the French occupation, Lopez was already well enough famous artist, so the Spanish king Ferdinand VII summoned him to Madrid and appointed him the official court painter, despite the fact that Francisco Goya himself was the "first royal artist" at that time. Vicente López was a prolific artist, he painted on religious, allegorical, historical and mythological subjects, but, above all, he was, of course, a portrait painter. During his long career, he painted portraits of almost every famous person Spain in the first half of the 19th century.
This portrait of the first organist of the royal chapel and famous musician and composer was written shortly before the death of the artist, and was completed by his eldest son Ambrosio Lopez.

Anton Raphael Mengs "Portrait of Maria Louise of Parma, Princess of Asturias" 1766

Juan Sanchez Cotán "Still life with game, vegetables and fruits" 1602

Don Diego de Acedo has been at court since 1635. In addition to the "jester's service", he acted as a royal messenger and was in charge of the king's seal. Apparently, the books, papers and writing materials depicted in the picture speak of these activities. It is believed that the portrait was painted in Fraga, province of Huesca, during the trip of Philip IV to Aragon, in which he was accompanied by Diego de Acedo. In the background rises the peak of Maliceos of the Guadarrama mountain range.

Hieronymus Bosch "Removing the Stone of Stupidity" c. 1490

In a satirical scene with figures against the backdrop of a landscape, an operation to extract the "stone of stupidity" is depicted. Inscription gothic font reads: - "Master, quickly remove the stone. My name is Lubbert Das." Lubbert is a common noun denoting ignorance and innocence. A surgeon in a headdress in the form of an inverted funnel, symbolizing ignorance, "extracts" a stone (water lily) from the head of a gullible patient and demands a generous payment from him. At that time, the simple-hearted believed that a stone in the head was to blame for their stupidity. This is what the charlatans used.

Raphael (Raffaello Santi) "Holy family with a lamb" 1507

Mary helps the little Christ to sit on the lamb - christian symbol the coming Passion of Christ, and St. Joseph is watching them. The painting was painted in Florence, where the artist studied the work of Leonardo da Vinci, influenced by his compositions with the Holy Family. In the Prado Museum, this is the only work by Raphael written in the early period.

Albrecht Dürer "Portrait of an Unknown Man" ca. 1521

The portrait belongs to late period Dürer's work. Written in a manner similar to the style Dutch artists. A wide-brimmed hat draws attention to the face of the person being portrayed, the light falling from the left focuses the viewer's attention on it. The second focus of attention in the portrait is the hands, and above all the left, in which the unknown person holds a scroll - apparently explaining his social status.

Rogier Van der Weyden "Lamentation" c. 1450

The altar triptych for the Miraflores monastery served as a model (kept in art gallery Berlin), created by Van der Weyden earlier than 1444 and repeated with some differences. In this version, with the upper part added at an unknown period, Mary, Christ, St. John and the donor (customer of the painting) - a member of the Broers family - are depicted in the same space. The artist expressively conveys the grief of the Mother of God, pressing the body of her dead son to her chest. The tragic group on the left is opposed by the figure of the donor, separated by a stone. He is in a state of prayerful concentration. At that time, customers often asked to portray themselves in the paintings. But, their images were always secondary - somewhere in the background, in the crowd, etc. Here the donor is depicted in the foreground, but separated from the main group by a stone and with the help of color.

Alonso Cano "Dead Christ Supported by an Angel" c. 1646 - 1652

Against the backdrop of a twilight landscape, an angel supports the lifeless body of Christ. The unusual iconography of this canvas is explained by the fact that it is associated not with the Evangelical texts, but with the so-called Christ of St. Gregory. According to legend, Pope Gregory the Great had a vision of the dead Christ supported by two angels. Kano interpreted this story in a different way - only one angel supports the motionless body of Christ.

Bartolome Esteban Murillo "Our Lady of the Rosary" ca. 1650 -1655

The work of Bartolome Esteban Murillo completes the golden age of Spanish painting. Murillo's works are impeccably accurate in composition, rich and harmonious in color and beautiful in the highest sense of the word. His feelings are always sincere and delicate, but in the canvases of Murillo there is no longer that spiritual power and depth that are so shocking in the works of his older contemporaries. The life of the artist is connected with his native Seville, although he had to visit Madrid and other cities. After studying with the local painter Juan del Castillo (1584-1640), Murillo worked a lot on orders from monasteries and temples. In 1660 he became president of the Academy of Fine Arts in Seville.
With his canvases on religious subjects, Murillo sought to bring consolation and reassurance. It is no coincidence that he very often painted the image of the Mother of God. From picture to picture, the image of Mary passed in the form of a lovely young girl with regular features and a calm look. Her innocent appearance was supposed to evoke a feeling of sweet tenderness in the viewer. In this painting, Bartolome Murillo depicted the Madonna and Jesus with a rosary, a traditional Catholic rosary, which was given prayer great importance at the time of the artist. In this work, the features of naturalism that prevailed in the works of the representatives of the Seville school in the first half of the 17th century are still noticeable, but the painting style of Murillo is already freer than in his early work. This free manner is especially pronounced in the depiction of the veil of the Virgin Mary. The artist uses bright light to highlight the figures against a dark background and create a contrast between the delicate tones of the face of the Virgin and the body of the baby Christ and the deep shadows in the folds of fabrics.
In Andalusia of the 17th century, the image of the Mother of God with the Child was in special demand. Murillo, whose creative life took place in Seville, wrote many such paintings, permeated with tenderness. In this case, the Mother of God with a rosary is depicted. And here, as in early years of his work, the artist remains true to his predilection for light and shade contrasts.

Bartolome Esteban Murillo "The Good Shepherd" 1655-1660

The picture is imbued with deep lyricism and kindness. The title is taken from the Gospel of John: "I am the good shepherd." This says that the picture depicts Christ, albeit in the very early age. In the picture of Murillo, everything is beautiful and simple. The artist loved to paint children, and he put all this love into the beauty of the image of this boy-God. In the 1660s and 1670s, during the heyday of his pictorial skill, Murillo strove to poeticize his characters, and he was often accused of some sentimental images and their deliberate beauty. However, these accusations are not entirely fair. The child depicted in the picture can be seen today both in Seville and in the surrounding villages. And it was precisely in this that the democratic orientation of the artist's work was manifested - in equalizing the beauty of the Madonna with the beauty of ordinary Spanish women, and the beauty of her son, little Christ, with the beauty of street tomboys.

Alonso Sanchez Coelho "Portrait of Infante Isabella Clara Eugenia and Catalina Michaela" 1575

The portrait of the princess, aged eight and nine, is holding a wreath of flowers. Sanchez Coelho painted portraits of infantas - the beloved daughters of King Philip II and his third wife Isabella of Valois - from their very early age. All portraits are made in compliance with the canons of a court portrait - girls in magnificent clothes and with impassive facial expressions.

Anton Raphael Mengs. Portrait of King Carlos III. 1767

Charles III was called perhaps the only truly enlightened monarch in the history of Spain. It was he who founded the Prado Museum in 1785, first as a museum of natural history. Charles III dreamed that the Prado Museum, along with the neighboring botanical gardens become the center of scientific education.
Having ascended the throne, he began to carry out serious political and economic reforms, which the country so badly needed at that time. However, his efforts were in vain - his son Charles IV did not share the progressive views of his father, and after the death of Charles III, the reforms were over.
This portrait is absolutely typical of its time. With every detail, the artist draws attention to the position occupied by the model: a mantle trimmed with ermine, a Maltese cross inlaid with jewels, shiny armor are indispensable attributes of royal greatness. Lush drapery and pilaster (element classical architecture) is a traditional background for such portraits.
But already in this portrait it is surprising how the model's face is presented. Mengs makes no attempt to shrink his onion-like regal nose or smooth out the lines in his wrinkled cheeks. Thanks to the maximum individuality, this painting creates a sense of life that Mengs' predecessors could not achieve. The portrait makes you feel sympathy for Carlos III, who is ready to "show" his imperfect appearance.

Antoine Watteau "Festival in the Park" c. 1713 - 1716

This charming scene is a typical example of Watteau's "gallant celebrations". light fog, lubricating outlines, the statue of Neptune almost hidden in the foliage above the fountain and a faded golden color - all this conveys an atmosphere of sharp, but fleeting pleasure.
The painting belonged to Isabella Farnese, second wife of King Philip V.

Antonio Carnicero "Raise of the hot air balloon in Aranjuez" c. 1784

The painting was commissioned by the Duke and Duchess of Oswan, it captures the spirit of the Enlightenment, which aroused interest in achievements scientific progress. depicted real event: in 1784, in the Royal Gardens of Aranjuez, in the presence of the monarch, members of his family and courtiers, a flight was made on the balloon Montgolfier. Antonio Carnicero was known for his charming genre scenes, and this canvas is one of his most ambitious works.

José de Madrazo y Agudo "Heavenly Love and Earthly Love" 1813

Francisco de Zurbaran "Agnus Dei. Lamb of God" 1635-1640

A lamb lies on a gray table, standing out sharply against a dark background in a sharply focused bright light. Any person in the 17th century would immediately recognize in him the "lamb of God" and would understand that this is a hint of Christ's self-sacrifice. The lamb's wool is remarkably written out and seems so soft that it is difficult to take your eyes off the animal and want to touch it.

Juan Pantoja de la Cruz "Portrait of Queen Isabella of Valois" c. 1604 - 1608

Pantoja de la Cruz painted this portrait, repeating the work of Sofonisba Anguishola - the original burned down in the palace in 1604. The artist only added a marmot fur cape to the queen's outfit.
Sofonisba Anguixola is an artist from Cremona who worked at the Spanish court. It was the first portrait of a young queen from a series made by the artist. The picture is written in a manner close to Spanish, but in warmer and lighter colors.

Jean Rann "Portrait of Carlos III as a child" 1723

Luis Melendez "Still life with a box of sweets, a pretzel and other objects" 1770

The greatest master of Spanish still life XVIII c., Luis Melendez was born in Italy, in the family of a miniaturist from Asturias. In 1717, the family moved to Madrid, where the young man entered the preparatory department of the Academy of San Fernando, and among the most gifted of her students took first place. However, in 1747 he was forced to leave the Academy in the wake of his father, who was expelled from it as a result of the conflict. During this period, Melendez again visits Italy. Helping his father initially, he became a miniaturist, and returning from Italy, was invited by Ferdinand VI to illustrate books in the Royal Chapel of Madrid. In the genre of still life, to which the artist turned in the early 1760s, new face his creativity.
This still life was painted in mature period artist's creativity. At this time, luxury items, silver utensils appear in his compositions. But, nevertheless, the artist still adheres to his ideals and works in line with genre tradition. The material tangibility of each of the objects painted on canvas makes us recall the best examples of still life in world art. The palpable transparent glass of the glass is reflected in the dull, gleaming surface of the silver vase. Soft, pretzel on a white napkin, it seems to smell like freshly baked bread. The neck of a sealed bottle gleams dully. A silver fork protrudes slightly beyond the edge of the illuminated table. In the composition of this still life, there is no ascetic arrangement of objects in one row, characteristic, for example, of Zurbaran's still lifes. Perhaps it has something in common with the Dutch samples. But the tone is darker, the objects are smaller and the composition is simpler.

Juan de Arellano "Basket of Flowers" 1670

A Spanish Baroque painter specializing in floral arrangements, he was born in Santorcase in 1614. At first he studied in the studio of a now unknown artist, but at the age of 16 he moved to Madrid, where he studied with Juan de Solis, an artist who completed commissions for Queen Isabella. Juan de Arellano for a long time lived on small commissions, including wall paintings, until he decided to focus exclusively on painting flowers and became an unsurpassed master in this area. It is believed that the master began by copying the works of other, especially Italian, artists, the Flemish still lifes added elegance and rigor to his style. Later, to this combination, he added his own compositional findings and a characteristic color palette.
The rather simple composition of this still life is characteristic of Arellano. Pure, intense plant colors stand out brightly against a neutral brownish background due to intense lighting.

El Greco - "Portrait of a gentleman with a hand on his chest"

Svetlana Obukhova

Such is the "Portrait of a gentleman with a hand on his chest" (1577-1579), written by the master shortly after he moved to Toledo. This portrait is recognized as one of the best in Spanish painting of the 16th century. The foreigner El Greco created "vivid images of Spanish life and history", which depict "genuine living beings, combining everything that is to be admired in our people, everything heroic and indomitable, with those opposite properties that cannot but be reflected, without destroying its very essence” (A. Segovia). Aristocrats from the ancient families of Toledo became the true heroes of El Greco, he saw their inner light - their nobility and dignity, fidelity to duty, intelligence, sophistication of manners, courage, external restraint and inner impulse, the strength of the heart, which knows what lives and dies for. ..

And other paintings from the Prado Museum in the Hermitage...

El Greco "Christ Embracing the Cross" 1600 - 1605

El Greco "The Holy Family with St. Anne and Little John the Baptist" c. 1600 - 1605

Velasquez - Portrait of Philip IV Portrait of King Philip IV. 1653-1657

The foundations of the psychological portrait in European art were laid by the Spanish painter Diego Rodriguez de Silva Velasquez. He was born into a poor noble family in Seville, studied with Herrera the Elder and Pacheco. In 1622 he first came to Madrid. In a practical sense, this trip was not very successful - Velasquez did not find a worthy place for himself. He hoped to meet the young King Philip IV, but the meeting did not take place. Nevertheless, rumors about the young artist reached the court, and already in the next year, 1623, the first minister, the Duke de Olivares (also a native of Seville), invited Velázquez to Madrid to paint a portrait of the king. This work, which has not come down to us, made such a pleasant impression on the monarch that he immediately offered Velázquez the position of court painter. Soon, quite friendly relations developed between the king and Velazquez, which was not very typical for the order that reigned at the Spanish court. The king, who ruled the greatest empire in the world, was considered not a man, but a deity, and the artist could not even count on noble privileges, since he earned his living by work. Meanwhile, Philip ordered that henceforth only Velasquez painted his portraits. The great monarch was surprisingly generous and supportive of Velasquez. The artist's studio was located in the royal apartments, and a chair for His Majesty was installed there. The king, who had the key to the workshop, came here almost every day to observe the work of the artist While in the royal service from 1623 to 1660, Velasquez painted about a dozen portraits of his overlord. Of these, a little more than 10 paintings have come down to us. Thus, on average, Velasquez portrayed his overlord about once every three years. Painting portraits of the king was the work of Velasquez, and he did this job perfectly. Thanks to this, we have a complex of works that is unique in its kind: the portraits of Velázquez trace the life path of King Philip as clearly as it later became a custom only in the age of photography. Evolution is clearly visible in the artist's canvases. Firstly, the king himself is changing, 18-year-old in the first portrait and 50-year-old in the last one, his face bears the imprint of age and spiritual changes. Secondly, the artist's perception of his model deepens, turning from superficial to insightful. Over time, the way the model is presented and artistic techniques change. Velazquez's manner is transformed under the influence of his own creative growth, as well as under the influence of modern domestic and foreign traditions. In this bust portrait, Philip IV is shown against a dark background wearing a black robe with a white collar that highlights the monarch's face. Velasquez avoids ostentatious luxury in the portrait of the king and shows the "human face" of the monarch without any flattery or courtly cunning. We clearly feel that the person looking at us from the canvas is unhappy, the last years of the reign were not easy for the king. This is a person who has known disappointment, but at the same time - a person whose flesh is full of innate greatness, which nothing can shake. Another great artist, a Spaniard to the marrow of his bones - Pablo Ruiz Picasso says this about the image of the Spanish king: “we cannot imagine another Philip IV, except for the one created by Velazquez ...”

"Portrait of King Philip IV" (c. 1653 - 1657)

One of the last portraits of the monarch. It is interesting to note that there is not a single element here that speaks of the royal status of the person being portrayed. Velazquez served Philip IV for almost forty years - from 1623 until his death, he painted portraits of the king and his family, large plot canvases for the Royal Collection.

Diego Velasquez "Portrait of the Jester Don Diego de Acedo" (El Primo) c. 1644

Diego Velasquez "Portrait of Queen Marianne of Austria" 1652-1653

Titian (Tiziano Vecellio) "Venus with Cupid and Organist" 1555

Paolo Veronese (Paolo Cagliari) - Penitent Mary Magdalene 1583

After her conversion, Mary Magdalene dedicated her life to repentance and prayer, withdrawing from the world. On this canvas, she is depicted looking into the heavens and bathed in divine light. The picture is written in thick dark colors, characteristic of Veronese's style in the late period of his work. Before getting into the Spanish Royal collections, the work belonged to the English king Charles I (executed in 1649)

Anthony van Dyck "Portrait of a man with a lute" 1622-1632

Anthony Van Dyck owes his fame to the portrait genre, which occupied a rather low position in the hierarchy of European painting. However, in Flanders by this time a tradition of portrait art had already developed. Van Dyck painted hundreds of portraits, several self-portraits, and became one of the creators of the ceremonial portrait style of the 17th century. In the portraits of his contemporaries, he showed their intellectual, emotional world, spiritual life, the living character of a person.
The traditional model for this portrait is Jacob Gautier, a lutenist at the English court from 1617 to 1647, but the presence of a sword, and to a greater extent, the stylistic characteristics of the work, indicate that it must be dated much earlier than Van Dyck's trip to London, which casts doubt on this theory. The presence of a musical instrument does not necessarily mean that the model was a musician. As a symbol, musical instruments were often depicted in portraits, as an indication of the intellectual refinement and sensitivity of the depicted.

Juan Bautista Maino "The Adoration of the Shepherds" 1612-1614

One of Maino's masterpieces. The collection of the State Hermitage contains another version of this story, written by Mainot. The artist was born in Pastrana (Guadalajara) and lived in Rome from 1604 to 1610. In this work, written on his return to Spain, one can feel the influence of Caravaggio and Orazio Gentileschi. In 1613, Maino became a member of the Dominican order, and the painting entered the altar cycle of the monastery of St. Peter the Martyr in Toledo.

Georges de Latour "The Blind Musician with the Lyre" ca. 1625- 1630

Latour depicts an old blind musician playing a hurdy-gurdy. He repeated this story many times. The artist, who worked under the influence of Caravaggio's style, enthusiastically reproduces the details - the pattern that adorns the musical instrument, the wrinkles on the face of the blind man, his hair.

Peter Paul Rubens, Jacob Jordaens "Perseus Releasing Andromeda" ca. 1639-1640

Francisco de Goya "Portrait of Ferdinand VII" 1814-1815

Francisco de Goya "Maria von Santa Cruz" 1805

Francisco Goya - "Autumn (Grape Harvest)" 1786 - 1787

Francisco Goya - The Grape Harvest. fragment

Francisco Goya "Portrait of General José de Urrutia" (c. 1798)

Peter Paul Rubens "Portrait of Marie de Medici". OK. 1622-1625.

Domenico Tintoretto "Woman Baring Her Breasts" ca. 1580-1590

Viscente Lopez Portagna "Portrait of Felix Maximo Lopez, first organist of the Royal Chapel" 1820

Spanish neoclassical painter, while retaining traces of the Rococo style. Lopez was considered one of the best portrait painters of his time, second only to Francisco de Goya. He began studying painting in Valencia at the age of 13, and four years later he won several first prizes at the San Carlos Academy, which earned him a scholarship to study at the prestigious San Fernando Royal Academy of Fine Arts in the capital. After completing his studies, Lopez worked for several years in the workshop of Mariano Salvador Maella, his teacher. By 1814, after the French occupation, López was already a fairly well-known artist, so the Spanish king Ferdinand VII called him to Madrid and appointed him the official court painter, despite the fact that Francisco Goya himself was the "first royal artist" at that time. Vicente López was a prolific artist, he painted on religious, allegorical, historical and mythological subjects, but, above all, he was, of course, a portrait painter. During his long career, he painted portraits of almost every famous person in Spain in the first half of the 19th century.
This portrait of the first organist of the royal chapel and the famous musician and composer was painted shortly before the death of the artist, and was completed by his eldest son, Ambrosio López.

Anton Raphael Mengs "Portrait of Maria Louise of Parma, Princess of Asturias" 1766

Juan Sanchez Cotán "Still life with game, vegetables and fruits" 1602

Hieronymus Bosch "Removing the Stone of Stupidity" c. 1490

In a satirical scene with figures against the backdrop of a landscape, an operation to extract the "stone of stupidity" is depicted. The inscription in Gothic script reads: - "Master, quickly remove the stone. My name is Lubbert Das." Lubbert is a common noun denoting ignorance and innocence. A surgeon in a headdress in the form of an inverted funnel, symbolizing ignorance, "extracts" a stone (water lily) from the head of a gullible patient and demands a generous payment from him. At that time, the simple-hearted believed that a stone in the head was to blame for their stupidity. This is what the charlatans used.

Raphael (Raffaello Santi) "Holy family with a lamb" 1507

Mary helps the little Christ sit on a lamb - a Christian symbol of the coming Passion of Christ, and St. Joseph is watching them. The painting was painted in Florence, where the artist studied the work of Leonardo da Vinci, influenced by his compositions with the Holy Family. In the Prado Museum, this is the only work by Raphael written in the early period.

Albrecht Dürer "Portrait of an Unknown Man" ca. 1521

The portrait belongs to the late period of Dürer's work. Written in a manner similar to the style of Dutch artists. A wide-brimmed hat draws attention to the face of the person being portrayed, the light falling from the left focuses the viewer's attention on it. The second focus of attention in the portrait is the hands, and above all the left, in which the unknown person holds a scroll - apparently explaining his social status.

Rogier Van der Weyden "Lamentation" c. 1450

The model was the altar triptych for the Miraflores monastery (kept in the art gallery in Berlin), created by Van der Weyden earlier than 1444 and repeated with some differences. In this version, with the upper part added at an unknown period, Mary, Christ, St. John and the donor (customer of the painting) - a member of the Broers family - are depicted in the same space. The artist expressively conveys the grief of the Mother of God, pressing the body of her dead son to her chest. The tragic group on the left is opposed by the figure of the donor, separated by a stone. He is in a state of prayerful concentration. At that time, customers often asked to portray themselves in the paintings. But, their images were always secondary - somewhere in the background, in the crowd, etc. Here the donor is depicted in the foreground, but separated from the main group by a stone and with the help of color.

Alonso Cano "Dead Christ Supported by an Angel" c. 1646 - 1652

Bartolome Esteban Murillo "Our Lady of the Rosary" ca. 1650 -1655

The work of Bartolome Esteban Murillo completes the golden age of Spanish painting. Murillo's works are impeccably accurate in composition, rich and harmonious in color and beautiful in the highest sense of the word. His feelings are always sincere and delicate, but in the canvases of Murillo there is no longer that spiritual power and depth that are so shocking in the works of his older contemporaries. The life of the artist is connected with his native Seville, although he had to visit Madrid and other cities. After studying with the local painter Juan del Castillo (1584-1640), Murillo worked a lot on orders from monasteries and temples. In 1660 he became president of the Academy of Fine Arts in Seville.
With his canvases on religious subjects, Murillo sought to bring consolation and reassurance. It is no coincidence that he very often painted the image of the Mother of God. From picture to picture, the image of Mary passed in the form of a lovely young girl with regular features and a calm look. Her innocent appearance was supposed to evoke a feeling of sweet tenderness in the viewer. In this painting, Bartolome Murillo depicted the Madonna and Jesus with a rosary, a traditional Catholic rosary, prayer for which was given great importance in the artist's time. In this work, the features of naturalism that prevailed in the works of the representatives of the Seville school in the first half of the 17th century are still noticeable, but Murillo's painting style is already freer than in his early work. This free manner is especially pronounced in the depiction of the veil of the Virgin Mary. The artist uses bright light to highlight the figures against a dark background and create a contrast between the delicate tones of the face of the Virgin and the body of the baby Christ and the deep shadows in the folds of fabrics.
In Andalusia of the 17th century, the image of the Mother of God with the Child was in special demand. Murillo, whose creative life was spent in Seville, painted many of these paintings, imbued with tenderness. In this case, the Mother of God with a rosary is depicted. And here, as in the early years of his work, the artist remains true to his predilection for light and shade contrasts.

Bartolome Esteban Murillo "The Good Shepherd" 1655-1660

The picture is imbued with deep lyricism and kindness. The title is taken from the Gospel of John: "I am the good shepherd." This suggests that the picture depicts Christ, albeit at a very early age. In the picture of Murillo, everything is beautiful and simple. The artist loved to paint children, and he put all this love into the beauty of the image of this boy-God. In the 1660s and 1670s, during the heyday of his pictorial skill, Murillo strove to poeticize his characters, and he was often accused of some sentimental images and their deliberate beauty. However, these accusations are not entirely fair. The child depicted in the picture can be seen today both in Seville and in the surrounding villages. And it was precisely in this that the democratic orientation of the artist's work was manifested - in equalizing the beauty of the Madonna with the beauty of ordinary Spanish women, and the beauty of her son, little Christ, with the beauty of street tomboys.

Alonso Sanchez Coelho "Portrait of Infante Isabella Clara Eugenia and Catalina Michaela" 1575

Anton Raphael Mengs. Portrait of King Carlos III. 1767

Charles III was called perhaps the only truly enlightened monarch in the history of Spain. It was he who founded the Prado Museum in 1785, first as a museum of natural history. Charles III dreamed that the Prado Museum, together with the neighboring botanical gardens, would become a center of scientific education.
Having ascended the throne, he began to carry out serious political and economic reforms, which the country so badly needed at that time. However, his efforts were in vain - his son Charles IV did not share the progressive views of his father, and after the death of Charles III, the reforms were over.
This portrait is absolutely typical of its time. With every detail, the artist draws attention to the position occupied by the model: a mantle trimmed with ermine, a Maltese cross inlaid with jewels, shiny armor are indispensable attributes of royal greatness. Lush drapery and a pilaster (an element of classical architecture) are a traditional background for such portraits.
But already in this portrait it is surprising how the model's face is presented. Mengs makes no attempt to shrink his onion-like regal nose or smooth out the lines in his wrinkled cheeks. Thanks to the maximum individuality, this painting creates a sense of life that Mengs' predecessors could not achieve. The portrait makes you feel sympathy for Carlos III, who is ready to "show" his imperfect appearance.

Antoine Watteau "Festival in the Park" c. 1713 - 1716

This charming scene is a typical example of Watteau's "gallant celebrations". A light mist that blurs the outlines, a statue of Neptune almost hidden in the foliage above the fountain and a faded golden color - all this conveys an atmosphere of sharp, but fleeting pleasure.
The painting belonged to Isabella Farnese, second wife of King Philip V.

Antonio Carnicero "Raise of the hot air balloon in Aranjuez" c. 1784

The painting was commissioned by the Duke and Duchess of Oswan, it reflects the spirit of the Enlightenment, which aroused interest in the achievements of scientific progress. A real event is depicted: in 1784, in the Royal Gardens of Aranjuez, in the presence of the monarch, members of his family and courtiers, a flight was made on the balloon Montgolfier. Antonio Carnicero was known for his charming genre scenes, and this canvas is one of his most ambitious works.

José de Madrazo y Agudo "Heavenly Love and Earthly Love" 1813

Francisco de Zurbaran "Agnus Dei. Lamb of God" 1635-1640

Juan Pantoja de la Cruz "Portrait of Queen Isabella of Valois" c. 1604 - 1608

Jean Rann "Portrait of Carlos III as a child" 1723

Luis Melendez "Still life with a box of sweets, a pretzel and other objects" 1770

The greatest master of the Spanish still life of the 18th century, Luis Melendez was born in Italy, in the family of a miniaturist from Asturias. In 1717, the family moved to Madrid, where the young man entered the preparatory department of the Academy of San Fernando, and among the most gifted of her students took first place. However, in 1747 he was forced to leave the Academy in the wake of his father, who was expelled from it as a result of the conflict. During this period, Melendez again visits Italy. Helping his father initially, he became a miniaturist, and returning from Italy, was invited by Ferdinand VI to illustrate books in the Royal Chapel of Madrid. In the genre of still life, which the artist turned to in the early 1760s, a new facet of his work appeared.
This still life was written in the mature period of the artist's work. At this time, luxury items, silver utensils appear in his compositions. But, nevertheless, the artist still adheres to his ideals and works in line with the genre tradition. The material tangibility of each of the objects painted on canvas makes us recall the best examples of still life in world art. The palpable transparent glass of the glass is reflected in the dull, gleaming surface of the silver vase. Soft, pretzel on a white napkin, it seems to smell like freshly baked bread. The neck of a sealed bottle gleams dully. A silver fork protrudes slightly beyond the edge of the illuminated table. In the composition of this still life, there is no ascetic arrangement of objects in one row, characteristic, for example, of Zurbaran's still lifes. Perhaps it has something in common with the Dutch samples. But the tone is darker, the objects are smaller and the composition is simpler.

Juan de Arellano "Basket of Flowers" 1670

A Spanish Baroque painter specializing in floral arrangements, he was born in Santorcase in 1614. At first he studied in the studio of a now unknown artist, but at the age of 16 he moved to Madrid, where he studied with Juan de Solis, an artist who completed commissions for Queen Isabella. Juan de Arellano lived for a long time at the expense of small orders, including wall paintings, until he decided to focus exclusively on painting flowers and became an unsurpassed master in this area. It is believed that the master began by copying the works of other, especially Italian, artists, the Flemish still lifes added elegance and rigor to his style. Later, to this combination, he added his own compositional findings and a characteristic color palette.
The rather simple composition of this still life is characteristic of Arellano. Pure, intense plant colors stand out brightly against a neutral brownish background due to intense lighting.

Perhaps one of the earliest portraits of El Greco created in Spain is the so-called "Portrait of a gentleman with a hand on his chest" (c. 1577-1579). This is evidenced primarily by the more traditional, dark, pictorial manner built on shades of brownish tones with a dense smooth brushstroke. The psychological neutrality of the interpretation is typical, which in the future will give way to a much more active characterization.

This famous portrait El Greco is, as it were, an image of a nobleman of his time erected within the framework of the canon. Elegant, very calm, with a gesture of oath or conviction, putting his right hand on his chest, the unknown caballero embodies the characteristic of the Spanish aristocracy sociego, that is, the expression in appearance equanimity, restraint, dignity.

The hilt of the Toledo sword is an eloquent detail of his strict appearance, a black suit, decorated with a high collar and cuffs of snow-white lace. Antonina Vallantin rightly notes that this type of Spaniard penetrated the stage and already lived on the pages of novels, but in order to be portrayed, he had to wait for the arrival of El Greco in Toledo.

The portrait, however, is inherent internal inconsistency, since the ideal aspect of the image does not quite correspond to the personality of the person being portrayed - a not very meaningful nature is depicted. The impression is achieved by the pictorial structure of the canvas, where the face and hand with the symbolic arrangement of fingers protrude from the dark background as light spots; the precious beauty of thin shimmering lace, the hilt of a sword, as if hanging in the air, acquires special fragility. The detachment of the caballero's gaze, endowed with typical Elgrekian odd-eyedness, enhances the expressiveness of the image.

Popular in category: