El Museo del Prado tiene su origen en las colecciones de los reyes de Espaa, fruto de cerca de trescientos aos de mecenazgo

y coleccionismo por parte de los monarcas espaoles desde Carlos V hasta Fernando VII. Con ms de 1150 cuadros expuestos al pblico, el Prado es uno de los mayores y ms importantes museos del mundo. El Museo de Arte de Ponce ha organizado la exposicin Del Greco a Goya: Obras Maestras del Museo del Prado con el objetivo de ofrecer a audiencias puertorriqueas una seleccin antolgica de las obras ms representativas de la gran pinacoteca espaola, agrupadas en torno a tres reas temticas diferentes: la pintura religiosa, que fue el gnero ms cultivado en la poca; el retrato, practicado por las figuras ms importantes del panorama artstico espaol y que sirvi como medio para crear y proyectar la imagen tanto de la sociedad como del individuo; y finalmente la pintura de bodegones, gnero a travs del cual los artistas exploraban las posibilidades estticas de la realidad cotidiana. Del Greco a Goya supone una oportunidad nica para entender las claves de la pintura que atesora el Museo del Prado, y disfrutar en Puerto Rico con las obras maestras de artistas como El Greco, Ribera, Rubens, Velzquez y Zurbarn. The origins of the Prado Museum lie in the collections accumulated over almost 300 years by the kings of Spain. From Charles V to Ferdinand VII, these monarchs were some of the most dedicated and enlightened patrons and collectors of European art. Now, with over 1,150 paintings on exhibition to the public, the Prado is one of the largest and most important museums in the world. For this special exhibition, the Prado has joined with the Museo de Arte de Ponce to present El Greco to Goya: Masterpieces from the Prado, bringing to Puerto Rican audiences a survey of the most representative works from the great Spanish institution. The paintings have been organized into three thematic groups: religious painting, which was the most common genre of the time; portraiture, which was practiced by the most important figures in Spanish painting and was used to create and disseminate the image not just of the individual, but of the state; and finally, still-lifes, through which artists plumbed the aesthetic possibilities of daily life. El Greco to Goya offers Puerto Rican viewers a unique opportunity to explore those key aspects of some of the signature paintings of the Prado Museum, and to delight in masterpieces by such artists as El Greco, Ribera, Rubens, Velzquez, and Zurbarn.

Del Greco a Goya

Obras maestras del Museo del Prado

Del Greco a Goya

Del Greco a Goya

Obras maestras del Museo del Prado

Del Greco a Goya

Obras maestras del Museo del Prado

Editado por Cheryl Hartup Pablo Prez dOrs Con textos de Jos lvarez Lopera Judith Ara Lzaro ngel Aterido Trinidad de Antonio Gabriele Finaldi Cheryl Hartup Lisa Lipinski Juan J. Luna Manuela B. Mena Marqus Pablo Prez dOrs Javier Ports Leticia Ruiz

Del 25 de marzo al 9 de julio de 2012

 MUSEO DE ARTE DE PONCE Principal Oficial Ejecutivo y Director AgustnArteaga Junta de Sndicos Fundacin Luis A. Ferr, Inc. Presidenta MaraLuisaFerrRangel Sndicos SilviaAguil AntonioLuisFerrRangel JaimeFonalledas HctorM.Laffitte MaraMartnezdelaCruz JosMenndezCortada RobertoSerralls ngelO.TorresIrizarry BenignoTrigoFerr LuisTrigoFerr MUSEO NACIONAL DEL PRADO Director MiguelZugazaMiranda Director Adjunto de Conservacin e Investigacin GabrieleFinaldi Director Adjunto de Administracin CarlosFernndezdeHenestrosa Real Patronato del Museo Nacional del Prado Presidente del Organismo JosIgnacioWertOrtega MinistrodeEducacin,CulturayDeporte Presidencia de Honor SS.MM.losReyes Presidente PlcidoArangoArias Vicepresidenta AmeliaValcrcelyBernaldodeQuirs Vocales EsperanzaAguirreGildeBiedma CsarAliertaIzuel GonzaloneslvarezdeCastrilln FernandoBenzo AntonioBetetaBarredaSainz AntonioBonetCorrea AnaMBotellaSerrano JosMCastaOrtega LuisAlbertodeCuencayPrado GuillermodelaDehesaRomero MdelasMercedesDezSnchez JosManuelEntrecanalesDomecq IsidrFainCasas MartaFernndezCurrs CarmenGimnezMartn FranciscoGonzlezRodrguez Jean-LaurentGranier CarmenIglesiasCano AliciaKoplowitzyRomerodeJuseu JoseMLasalleRuiz JulioLpezHernndez EmilioLledIigo JosMilicuaIllarramendi RafaelMoneoValls FranciscoJavierMoralesHervs JessPrietodePedro JosRodrguez-SpiteriPalazuelo AnaMaraRuizTagle EnriqueSizMartn JoseIgnacioSnchezGaln EduardoSerraRexach JavierSolanadeMadariaga MiguelZugazaMiranda CarlosZurita,DuquedeSoria Secretaria MDoloresMuruzbal ACCIN CULTURAL ESPAOLA (AC/E) Presidenta CharoOteguiPascual Directora de Proyectos y Coordinacin PilarGmezGutirrez Gerente ConchaToqueroPlaza Director Econmico-Financiero CarmeloGarcaOllauri Directora de Comunicacin NievesGoicoecheaGonzlez Director de Relaciones Institucionales IgnacioOlleroBorrero Directora de Produccin CeciliaPereiraMarimn Consejo de Administracin CarlosAlberdiAlonso ngelesAlbertdeLen CarmenCaffarelSerra SantosCastroFernndez DanielEspnLpez EvaAnaGarcaMuntaner AntonioLpezMartnez FlixPalomeroGonzlez GloriaPrezSalmern MBelnPlazaCruz JosEugenioSalarichFernndez-Valderrama RoserSamplnSalvador MFernandaSantiagoBolaos AlbertoValdivielsoCaas Secretaria del Consejo MdelCarmenTejeraGimeno

ndice / Index

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Prefacio Prlogo de los directores Breve historia del Prado La coleccin espaola del Museo de Arte de Ponce El alma del Imperio: pintura religiosa Presencias reales: retratos La poesa de lo cotidiano: bodegones Biografas ENGLISH VERSION Preface Directors Foreword A Brief History of the Prado The Museo de Arte de Ponces Spanish Collection The Soul of the Empire: Religious painting Real presences: Portraits Everyday poetry: Still-life paintings Biographies Fichas tcnicas / Technical Information Exposiciones / Exhibitions Bibliografa / Bibliography Agradecimientos / Acknowledgements Crditos / Credits

Exhibicin organizada por el Museo de Arte de Ponce, Museo Nacional del Prado y Accin Cultural Espaola.

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Auspicioprincipaldelaexhibicin Auspiciodelcatlogo Auspicioycolaboracinadicional

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Prefacio

Accin Cultural Espaola (ac/e) se une a la iniciativa del Museo de Arte de Ponce, de Puerto Rico, y del Museo Nacional del Prado, de Espaa, para ofrecer al pblico puertorriqueo una seleccin de obras maestras de la pintura entre los siglos xvi y xix, procedente de la coleccin de la pinacoteca espaola. Tan slo el nombre de la muestra, Del Greco a Goya, ya indica la calidad y la riqueza de la seleccin de obras, realizadas todas ellas por grandes maestros. Santos, vrgenes, mrtires, reyes, reinas, infantas y bodegones conforman buena parte de este conjunto de leos firmados por El Greco, Van Dyck, Ribera, Cano, Murillo, Rubens, Zurbarn, Velzquez y Goya, entre otros. En su exquisitez, estas obras reflejan la evolucin de la pintura espaola a lo largo de cuatro siglos en los que el imperio espaol, tanto a nivel nacional como internacional y en sus diversos mbitos, poltico, econmico y cultural, pasa del dorado cnit a un profundo abismo. Este proceso histrico y sus complejidades son magistralmente reflejados por los artistas, quienes, entre representaciones del poder terrenal y celestial, incluyen aspectos mundanos como los que aparecen en los bodegones o, en ocasiones, la voluntad grotesca de sus pinceles. ac/e contribuye una vez ms a dar visibilidad internacional a nuestro patrimonio cultural, y lo hace con una voluntad firme de ofrecer una nueva mirada a nuestra historia, consiguiendo de este modo dar una imagen moderna y dinmica de nuestro pas, imagen que al mismo tiempo traduce con rigor y exactitud las realidades de nuestras culturas. Felicitamos al Museo Nacional del Prado y al Museo de Arte de Ponce por la iniciativa en este proyecto y deseamos asimismo que la muestra genere en Puerto Rico un inters renovado por nuestra tradicin cultural y por nuestro pas.

La Compaa de Turismo de Puerto Rico se complace en auspiciar Del Greco a Goya: obras maestras del Museo del Prado, exposicin que rene por primera vez en nuestra isla las esplndidas creaciones de Velzquez, Rubens, Murillo, el Greco, Tiziano y Goya, entre otros grandes maestros del arte universal que forman parte de la extraordinaria pinacoteca espaola. La colaboracin con una institucin tan venerable como el Museo del Prado, tanto por su devenir histrico como por su vitalidad actual, es un reconocimiento al Museo de Arte de Ponce y demuestra la capacidad de Puerto Rico para realizar eventos de importancia internacional en beneficio de sus habitantes y de los visitantes extranjeros que a diario recibe la isla. Las artes son parte esencial de nuestra herencia cultural, y la pintura es una de sus ms importantes expresiones. A lo largo de su historia, Puerto Rico ha sido cuna de destacados artistas que con su quehacer han atrado la atencin de la crtica internacional y del pblico. La Compaa de Turismo de Puerto Rico reconoce el impacto positivo que el arte tiene en los pueblos y con orgullo celebra el papel protagnico que juega el Museo de Arte de Ponce no slo en el mbito local sino como embajador de nuestra isla en el escenario internacional, ayudando a divulgar lo mejor de nuestro patrimonio artstico en el exterior y haciendo accesibles a nuestra poblacin los tesoros de instituciones tan importantes como el Museo del Prado. Nos sentimos sumamente complacidos de aunar esfuerzos con empresas e individuos puertorriqueos para hacer posible el disfrute de esta seleccin de obras maestras, al tiempo que reconocemos el ingente trabajo del Museo de Arte de Ponce y le deseamos el mayor de los xitos. Esperamos que el pblico acuda a apreciar y disfrutar con esta exposicin nica que nos revela, una vez ms, la magia del arte.

Charo Otegui Presidenta Accin Cultural Espaola (ac/e)

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Mario Gonzlez Lafuente Director Ejecutivo Compaa de Turismo de Puerto Rico

Prlogo de los directores

Desde su fundacin en 1959, el Museo de Arte de Ponce ha tenido entre sus objetivos prioritarios el desarrollo de relaciones de intercambio y colaboracin con otras instituciones internacionales. Adems de la natural cercana afectiva e histrica entre Espaa y Puerto Rico, los lazos que unen al Museo Nacional del Prado con el Museo de Arte de Ponce parten de la naturaleza misma de sus respectivas colecciones, puesto que entre las cerca de mil obras europeas del museo puertorriqueo destacan magnficos lienzos de Francisco de Goya, Jos de Ribera, Joaqun Sorolla y otros muchos artistas espaoles cuya obra abarca desde el siglo xv hasta el xx. Los estrechos vnculos entre los dos museos se han concretado en un largo perodo de cooperacin acadmica y cientfica entre los directivos, curadores y conservadores de ambas instituciones. Esta andadura ha hecho posible la exposicin que ahora nos enorgullece presentar, Del Greco a Goya: obras maestras del Museo del Prado, la primera exposicin en Estados Unidos y Puerto Rico compuesta exclusivamente por obras del Museo del Prado, y sin duda una de las ms ambiciosas de cuantas se han celebrado en el Museo de Arte de Ponce hasta la fecha. Del Greco a Goya supone la culminacin de una gran empresa comn que se ha extendido a lo largo de cinco aos entre el Museo de Arte de Ponce y el Museo Nacional del Prado. En 2007, ambas instituciones firmaron un acuerdo con el propsito de intercambiar exposiciones de obras provenientes de sus respectivos fondos, as como para desarrollar proyectos comunes de conservacin e investigacin. En 2009, el Prado present la exposicin La Bella Durmiente: pintura victoriana del Museo de Arte de Ponce, una muestra de diecisiete pinturas y obras sobre papel de su prestigiosa coleccin de arte britnico. Con ella, el Museo de Arte de Ponce, por primera vez en su historia y en concurrencia con el proyecto de ampliacin y renovacin que motiv el cierre del museo al pblico entre 2008 y 2010, mostraba en Europa una exposicin formada exclusivamente por sus tesoros y llegaba a los visitantes de todo el mundo que diariamente abarrotan el Museo Nacional del Prado. Ahora, la gran pinacoteca espaola devuelve la visita con el prstamo de una importante seleccin de pinturas de su coleccin permanente, que conforman la exposicin Del Greco a Goya: obras maestras del Museo del Prado, haciendo accesible a la poblacin puertorriquea los mejores ejemplos de los grandes maestros de los siglos xvi al xix.
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Quisiramos expresar nuestro ms profundo agradecimiento a Plcido Arango, Presidente del Real Patronato del Museo Nacional del Prado, y a Mara Luisa Ferr Rangel, Presidenta de la Junta de Sndicos de la Fundacin Luis A. Ferr, por su apoyo y liderazgo, al igual que a todos y cada uno de los distinguidos miembros del Patronato y de la Junta. Extendemos nuestra gratitud a Gabriele Finaldi, Director Adjunto de Conservacin e Investigacin del Museo del Prado, y reconocemos la dedicada labor de los coordinadores de esta exposicin, Cheryl Hartup, Curadora en Jefe del Museo de Arte de Ponce, y Pablo Prez dOrs, Curador Asistente de Arte Europeo, as como a los equipos de profesionales de ambas instituciones y otros colaboradores, por su inestimable contribucin que ha hecho posible este proyecto. Manifestamos nuestro especial agradecimiento al Cnsul General de Espaa en Puerto Rico, don Eduardo Garrigues, por su desinteresada y entusiasta colaboracin para obtener el apoyo de las instituciones y empresas espaolas a favor de esta exposicin, que no sera posible sin la participacin de Accin Cultural Espaola (ac/e) y el respaldo de los miembros de su junta y su presidenta Charo Otegui; al Banco Santander y a su Presidente en Puerto Rico, Javier Hidalgo, por su decidido apoyo a este proyecto, siendo su principal auspiciador; a la Fundacin Banco Santander en Espaa y a Charo Lpez Meras; a Mario Gonzlez Lafuente, Director Ejecutivo de la Compaa de Turismo de Puerto Rico, por su patrocinio del presente catlogo; a Carlos Unanue, Presidente de Goya Foods en Puerto Rico, por subvencionar los programas educativos relacionados con la exposicin, y a John Cook y Juan Carlos Sotomonte por su generoso auspicio de la cena inaugural. A todos ellos, y a cuantos han colaborado en el presente proyecto y no hemos podido nombrar aqu, les estamos sinceramente agradecidos.

Miguel Zugaza Miranda Director del Museo Nacional del Prado

Agustn Arteaga Director del Museo de Arte de Ponce

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Breve historia del Prado

Gabriele Finaldi

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Un museo de pintores, ms que de pintura El Museo del Prado ocupa un lugar muy especial en el panorama cultural y artstico de Europa. Sin duda posee una de las colecciones de arte europeo ms impresionantes del mundo. Pero si bien el Louvre es un acervo enciclopdico de tesoros, as como los grandes museos de Berln y Viena son un inmenso espectculo de arte y la National Gallery de Londres es la esencia destilada de la historia de la pintura europea, el Prado es algo diferente. Es el hogar de los grandes pintores. Evocando palabras atribuidas a un distinguido visitante francs de mediados del siglo xix, el escritor Thophile Gautier, el Prado es ms un museo de pintores que de pintura. Tiziano, Rubens, Velzquez y Goya maestros supremos, artistas que se deleitaban en las cualidades fsicas de la pintura, el leo, el pigmento, trabajando la superficie de sus lienzos con virtuosismo, inteligencia y placer habitan en el Prado. Su presencia se concreta en excepcional nmero y sustancia. Hay unas 40 pinturas de Tiziano (ca. 1490-1576), 90 de Rubens (1577-1640), 50 de Velzquez (1599-1660) y 140 de Goya (junto a ms de 1,200 dibujos y grabados de este ltimo). Sus obras dialogan de una sala a la otra, igual que conversaran en vida los artistas entre s, de forma real o metafrica, como lo hizo Rubens con Velzquez cuando visit Madrid a finales de la dcada de 1620. Durante ese viaje Rubens se dedic a copiar todos los Tizianos que vio en Espaa (en ese entonces haba unos treinta), reinterpretndolos con su sensibilidad exuberante y optimista. Velzquez, con la sobriedad y la infinita sutileza que lo caracterizaban, observ esos mismos Tizianos y aprendi de ellos, pues siendo curador de facto de las colecciones reales espaolas, los tena a su cargo. Poco ms de un siglo despus, Francisco de Goya (17461828) no se intimid ante las soberbias pinturas que cubran las paredes de los palacios de Madrid y sus cercanas, desde el nuevo Palacio Real hasta El Escorial, y ms bien entabl un profundo dilogo con Velzquez que le sirvi de prisma para comprender a los otros maestros. Ciertamente, en un recorrido por el Prado llega el momento en que la secuencia cronolgica de estos artistas se vuelve borrosa, y ya no estamos seguros de si Rubens vio los Tizianos o fue al revs, si Goya vino antes que Velzquez o si fue Tiziano quien recibi el influjo de los dos espaoles al ver sus obras. (En realidad Tiziano nunca estuvo en Espaa). Rodea a estos artistas una constelacin de otros grandes nombres, en muchos casos tambin representados con extraordinaria riqueza en el museo, nombres como el Greco, Ribera y Murillo, cuya obra se incluye en esta exposicin. Monarcas apasionados por el arte Los monarcas espaoles, como norma, han sentido un gran amor por el arte, y es gracias a su instinto coleccionista y a su habilidad para reconocer el talento excepcional entre los artistas de su tiempo que el Prado alberga la coleccin que hoy posee. Isabel de Castilla (ms conocida como Isabel la Catlica) reconoci las destrezas de Juan de Flandes y lo llev a Espaa a mediados de la dcada de 1490 junto con el pintor estonio Michel Sittow; Carlos V, rey
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Fig. 1. Tiziano Carlos V en la batalla de Mhlberg 1548.leosobrelienzo,335cm283cm.

Fig. 2. Diego Velzquez Las meninas Ca.1656.leosobrelienzo,318cm276cm. 13

de Espaa (r. 1516-1556) y emperador del Sacro Imperio Romano (fig. 1), y su hijo Felipe II (r. 1556-1598) fueron los mecenas principales de Tiziano, y prcticamente monopolizaron su produccin autgrafa desde la dcada de 1540. El entusiasmo de Felipe por la pintura de los Pases Bajos explica por qu la mayora de las obras de Hieronymus Bosch se encuentran en Madrid y no en Bruselas o msterdam, y por qu se le conoce en Espaa con el apelativo castellanizado de el Bosco. Felipe IV (r. 1621-1665) fue quiz el rey espaol ms sensible a la pintura. A la edad de dieciocho aos nombr pintor de cmara a Velzquez, que entonces contaba apenas veinticuatro y que ostentara ese puesto desde 1623 hasta su muerte, casi cuatro dcadas ms tarde. Felipe IV fue tambin un importante mecenas de Rubens y Jusepe de Ribera (15911652) quien trabaj en Npoles bajo el virreinato espaol y patrocin la obra de ambos con verdadera pasin (cats. 5 y 3). Incluso Carlos II (r. 16651700), quien siendo el ltimo en la endogmica lnea de los Habsburgos espaoles sufra discapacidades intelectuales y fsicas, parece haber tenido una particular sensibilidad hacia la pintura y en 1692 llev a Madrid al napolitano Luca Giordano (Lucas Jordn, 1634-1705), con lo cual inaugur una nueva primavera en la pintura decorativa espaola y en la propia carrera del artista. Pero el arte no muri con los Habsburgos. Felipe V de Borbn (r. 17001746) y su reina consorte, Isabel Farnesio de Parma, adquirieron notables obras de Poussin y de artistas holandeses y flamencos. En las dcadas de 1750 y 1760, Carlos III invit a Corrado Giaquinto (1703-1765), Anton Raphael Mengs (1728-1779) y Giovanni Battista Tiepolo (1696-1770) a trabajar para l, y su hijo y sucesor, Carlos IV, nombr a Goya primer pintor del rey en 1800. Fernando VII, uno de los monarcas espaoles menos admirados, fue retratado por Goya como prncipe y luego como rey (cat. 19); este monarca fue un activo mecenas y coleccionista, y alentado por su segunda esposa, la princesa portuguesa Mara Isabel de Braganza, fue l quien decidi establecer el Real Museo de Pinturas y Esculturas, conocido posteriormente como el Museo del Prado. El inters de la realeza espaola en la pintura fue objeto de ancdotas literarias ya desde Vasari (1568), quien aludiendo al trabajo de Tiziano para Carlos V escribe que el emperador desde que lo conoci, no quiso ser retratado por ningn otro pintor. Tambin cuenta Carlo Ridolfi en su biografa de Tiziano (1648) que una vez el emperador se dign a recoger el pincel que se le haba cado al pintor. Francisco Pacheco (1649) narra que Felipe IV admir tanto el primer retrato que le hizo Velzquez que de inmediato lo nombr su retratista exclusivo, en directa imitacin del honor otorgado a Tiziano por su bisabuelo, Carlos V. A Felipe IV le ense dibujo y pintura Juan Bautista Mano (1581-1649), el fraile dominico pintor, y Rubens escribe en una de sus cartas que durante su estancia en Madrid en 1628-1629, el rey iba a verlo trabajar casi todos los das. Se dice que fue el rey mismo quien pint la cruz de la Orden de Santiago en el autorretrato de Velzquez en Las meninas (fig. 2), aunque los exmenes tcnicos no han arrojado datos concluyentes a este respecto. La propia reina Isabel Farnesio (1692-1766) fue una pintora competente y copi diversas obras de la coleccin real, y en el siglo xix varios miembros de la casa de Borbn

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practicaron el dibujo y la pintura con entusiasmo. En un magnfico retrato pstumo de Mara Isabel de Braganza pintado en 1829 por Bernardo Lpez (1799-1874) (fig. 3) aparece la reina sealando con una mano hacia el Prado y con la otra al plano para la colocacin de los cuadros en las paredes, detalles que delatan un inusual inters en los pormenores de la incipiente pinacoteca. Los orgenes del Prado Ya para la dcada de 1770, Carlos III (r. 1759-1788) haba querido establecer un museo de pintura; tres dcadas ms tarde, Jos Bonaparte, el hermano de Napolen impuesto a los espaoles como rey en 1808, concibi planes para un museo nacional. Pero fue a Fernando VII, restituido en el trono en 1814, a quien correspondi fundarlo. Para albergar el museo se escogi un edificio elegante y austero de estilo neoclsico, ubicado en el Paseo del Prado, que haba sido diseado por Juan de Villanueva en la dcada de 1780 como Gabinete de Historia Natural y Academia de las Ciencias (fig. 4). Inspirada por las ideas de la Ilustracin, la obra se haba proyectado como parte de un complejo de edificios y jardines dedicados a las ciencias, una especie de parque de las ciencias del siglo xviii que incluira, al sur, el Jardn Botnico (hoy todava en pie y en uso) y en los cercanos Jardines del Buen Retiro, el Real Observatorio (tambin en pie, pero ya en desuso). No obstante, el edificio del gabinete y academia se dej inconcluso y por ende nunca lleg a cumplir su propsito original. A la larga, su destino sera muy distinto. El 19 de noviembre de 1819, cuando abri sus puertas el Real Museo del Prado (as llamado por su ubicacin en el rea conocida como el Prado de San Jernimo, donde estaba la iglesia de San Jernimo el Real, en la zona este de Madrid), haba 311 pinturas espaolas en exhibicin. La seleccin fue realizada por el rey y el primer director del museo, el marqus de Santa Cruz, de entre las pinturas ubicadas en los palacios reales de la capital y sus cercanas, y en ella figuraban obras importantes de Velzquez, Goya, Ribera y Murillo. Las meninas estuvo expuesta desde el principio, al igual que los retratos ecuestres de Carlos IV y la reina Mara Luisa de Parma pintados por Goya. La intencin explcita de Fernando era franquear al pblico una copiosa coleccin de cuadros nacionales y extranjeros por el orden de las diferentes escuelas, establecimiento que, al mismo tiempo que hermoseaba la capital del reino y contribua al lustre y esplendor de la nacin, suministraba a los aficionados ocasin del ms honesto placer y a los alumnos de las artes del dibujo los medios ms eficaces de hacer rpidos adelantamientos. El museo se abra para visitas un da a la semana, los mircoles de nueve de la maana a dos de la tarde. Apenas cinco aos despus, el inventario de cuadros montados en las paredes registraba 512 pinturas espaolas e italianas, incluidos El trnsito de la Virgen de Mantegna (fig. 5) y los retratos de pie de Carlos V y Felipe II por Tiziano. Para 1834, haban llegado al museo El 2 de mayo y El 3 de mayo, encargados a Goya en 1814 para conmemorar la heroica resistencia del pueblo de Madrid ante la invasin francesa de 1808 y el brutal fusilamiento de patriotas espaoles que tuvo lugar como represalia (figs. 6 y 7). Para 1858,

gracias a la generosidad de la hija de Fernando, Isabel II, la coleccin era ya siete veces lo que haba sido en 1819. Tras la revolucin de 1868, el Real Museo se nacionaliz y se convirti oficialmente en el Museo Nacional del Prado. En 1870 recibi la enorme incorporacin de unas 1.700 pinturas debido a la anexin del Museo de la Trinidad, fundado en 1837 con obras de monasterios y conventos expropiados de Castilla. Con esto se sumaron al Prado importantes pinturas religiosas del Greco (1541-1614), Juan Bautista Mano y Vicente Carducho (1576-1638), as como un grupo de retratos de Goya y su Cristo crucificado. Los nuevos fondos tambin incluan obras de artistas contemporneos adquiridas por el estado espaol en la Exposicin Nacional de Bellas Artes que se celebraba anualmente desde 1856, aunque pocas de ellas estaban expuestas debido a la crnica escasez de espacio en el edificio de Villanueva. La coleccin se fortalece A fines del siglo xix, para aliviar la presin de la falta de espacio, el Prado adopt la poltica de ubicar obras de sus colecciones como depsito temporal en museos y edificios pblicos en toda Espaa y en residencias diplomticas en el extranjero. El Prado disperso, como a veces se denomina este museo ideal, comprende hoy unas 3.500 pinturas y esculturas. No siempre ha sido fcil llevar cuenta de este patrimonio esparcido, pero en la dcada de 1970 el museo se fij como prioridad inventariar y rastrear estas obras, y en 2002 se tom la decisin de establecer un centro en vila, al noroeste de Madrid, para administrar el museo disperso. A lo largo del siglo xx el museo recibi numerosas obras por donacin o legado, en particular los legados de Pablo Bosch en 1915 (pinturas y una extensa coleccin de medallas), Pedro Fernndez Durn en 1931 (pinturas, entre ellas el Coloso que hasta hace poco se atribua a Goya, y numerosos dibujos de los grandes maestros) y Francesc Camb, el economista y poltico cataln que en 1940 don un significativo grupo de pinturas del primer Renacimiento italiano (escuela hasta entonces prcticamente ausente del Prado), entre ellas tres de las cuatro tablas que componan la Historia de Nastagio degli Onesti, de Botticelli. Entre 1920 y 1970, en tres perodos sucesivos, se construyeron salas nuevas en la parte posterior del edificio de Villanueva para poder mostrar un mayor nmero de pinturas de la coleccin y armonizar el museo con los criterios expositivos modernos. Otra muy importante ampliacin tuvo lugar en 1971 gracias a la incorporacin al Prado de las colecciones del desaparecido Museo de Arte Moderno (mayormente pinturas y esculturas del siglo xix, incluidas obras que haban pertenecido al Museo de la Trinidad). Dado que estas piezas nuevas no podan albergarse en el edificio de Villanueva, se hizo una seleccin que estuvo expuesta hasta 1997 en el Casn del Buen Retiro, ubicado a solo cien metros del museo y uno de los pocos edificios que han sobrevivido del conjunto del Palacio del Buen Retiro, construido en el siglo xvii. Con los fondos del Museo de Arte Moderno llegaron obras de Vicente Lpez (1772-1850) y Eduardo

Fig. 3. Bernardo Lpez Mara Isabel de Braganza, reina de Espaa, como fundadora del Museo del Prado 1829.leosobrelienzo,258cm174cm.

Fig. 5. Andrea Mantegna El trnsito de la Virgen ca. 1462.Tcnicamixtasobretabla, 54,5cm42cm.

Fig. 6. Francisco de Goya El dos de mayo, o la carga de los mamelucos 1814.leosobrelienzo,266cm345cm.

Fig. 4. Juan de Villanueva Gabinete de Historia Natural y Academia de las Ciencias (actual edificio Villanueva del Museo del Prado) Diseadoca. 1780-1790. 14

Fig. 7. Francisco de Goya Los fusilamientos del tres de mayo 1814.leosobrelienzo,266cm345cm. 15

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Fig. 8. Eduardo Rosales Doa Isabel la Catlica dictando su testamento 1864.leosobrelienzo,290cm400cm.

Rosales (1836-1873) (Doa Isabel la Catlica dictando su testamento, fig. 8), un extenso grupo de paisajes de Carlos de Haes (1826-1898) y pinturas de Joaqun Sorolla (1863-1923) e Ignacio Zuloaga (1870-1945). El ao 1981 vio el arribo a Espaa de Guernica, obra que Picasso haba pintado en Pars en 1937, cuando era director del Prado, puesto que ocup durante la Segunda Repblica, desde 1936 hasta 1939. Esta pica denuncia del bombardeo nazi a la cuna de la patria vasca fue reconocida de inmediato como una imagen que trascenda por mucho las circunstancias inmediatas de su encargo (para el Pabelln de Espaa en la Exposicin Internacional de Pars) y se convirti en una de las obras de arte ms poderosas y celebradas del siglo xx. Picasso declar luego que la pintura deba ir al Prado cuando se restauraran las libertades democrticas terminado el rgimen dictatorial de Francisco Franco, y a pocos aos de la muerte del pintor su cuadro se instal en el Casn del Buen Retiro. Desde 1991 Guernica es el corazn del Museo Nacional Centro de Arte Reina Sofa, el principal museo espaol de arte moderno, donde contina ejerciendo su doble rol de icono cultural y poltico. El Prado y los artistas: una relacin especial Desde los orgenes del museo hasta 1960, la mayora de sus directores fueron artistas practicantes, y varios tenan sus talleres en el edificio. En el transcurso del siglo xix, el Prado logr acumular una vasta representacin de la pintura espaola, que abarcaba desde el Siglo de Oro (mediados del siglo xvi a fines del xvii) hasta la poca de Goya. De hecho, como hemos visto, el museo lleg a exponer obras de Goya en vida del pintor. Esas colecciones, en particular las obras del Greco, Velzquez, Murillo y el propio Goya, ejercieron una fuerte influencia en los artistas extranjeros que visitaban el museo, desde el escocs David Wilkie (1785-1841) hasta Edouard Manet (1832-1883), quien confes su deslumbramiento con lo que vio durante su visita de 1864, y desde el estadounidense John Singer Sargent (1856-1925), quien no dejara de estar fascinado por Las meninas el resto de su vida, hasta Edgar Degas (1834-1917). La coleccin espaola del Prado se convirti en acicate para el desarrollo de un estilo conscientemente moderno en el arte francs y espaol del siglo xix. Los artistas rusos tampoco escaparon al encanto del Prado. Ili Repin (1844-1930), que estuvo en Madrid a mediados de la dcada de 1870, recordaba que mientras copiaba las obras de Velzquez en el Prado, su alma arda de pasin. Las llamadas Pinturas negras (fig. 9), un desfile pesadillesco de escenas mitolgicas, religiosas y satricas que Goya pint en las paredes de su propia casa a orillas del ro Manzanares a principios de la dcada de 1820, entraron a la coleccin del Prado en 1881 como donacin de un banquero belga, el barn mile dErlanger. Sobre estas obras en que el artista dio rienda suelta a su imaginacin se ha dicho con frecuencia que son precursoras de la pintura moderna por reflejar una ruptura con las estructuras de mecenazgo existentes, la temtica tradicional y las tcnicas pictricas establecidas. Durante todo el siglo xx, la obra que ms fascin a los artistas fue sin duda Las meninas. Han recurrido a ella figuras desde Picasso, quien pas

cuatro meses del 1957 trabajando en una extensa serie inspirada en el cuadro velazqueo (hoy expuesta en el Museo Picasso de Barcelona), hasta el grupo de pintores Equipo Crnica y el escultor Jorge Oteiza. En 2004, la videoartista estadounidense Eve Sussmann produjo 89 Seconds at Alczar, una instalacin suntuosamente coreografiada que recrea en film la obra maestra de Velzquez. Sin duda, las paradjicas cualidades de esta extraordinaria pintura (que en su influyente ensayo de 1966 el filsofo francs Michel Foucault calific como fundamentalmente una representacin de la representacin) han suscitado brillantes reacciones entre los artistas modernos. Las otras colecciones del Prado Adems de su coleccin de pintura, el Prado contiene importantes obras escultricas, especialmente grecorromanas y renacentistas. Felipe IV encarg a Velzquez una serie de vaciados en bronce de esculturas romanas famosas, y varios de ellos son ahora propiedad del museo. Pero el coleccionista principal de piezas antiguas fue Felipe V, quien adquiri obras que haban pertenecido, entre otros, a la reina Cristina de Suecia (1626-1689). Vale mencionar el clebre grupo escultrico del siglo i Ofrenda de Orestes y Plades (fig. 10), conocido en Espaa como el Grupo de San Ildefonso porque se encontraba en el palacio real de San Ildefonso, cerca de Segovia, as como las ocho Musas que antes haban adornado el pequeo teatro de la villa del emperador Adriano en Tvoli y ahora dan la bienvenida a los visitantes del Prado en la nueva Sala de las Musas (fig. 11). En el claustro de la vecina iglesia de San Jernimo, ahora integrado en la ampliacin del Prado (fig. 12), se encuentra el incomparable grupo de bronces y mrmoles que representan a Carlos V y su familia, creados por los escultores italianos Leone Leoni (1509-1590) y su hijo Pompeo (ca. 1533-1608), quienes tambin fueron los artfices de las efigies en bronce dorado del emperador y su hijo Felipe II para la baslica de El Escorial, as como de todas las esculturas del altar mayor. Por otra parte, las colecciones del siglo xix representan de manera especialmente notable la escultura neoclsica espaola. El Prado tiene una pequea pero esplndida muestra de artes decorativas, principalmente en la coleccin llamada Tesoro del Delfn. El delfn en cuestin era Luis, hijo de Luis XIV de Francia y padre de Felipe V de Espaa. El tesoro incluye jarras, copas, cofres y otros recipientes hechos de piedras semipreciosas tales como sardnice, jade, gata, cristal de roca y jaspe, con monturas y elementos decorativos en plata dorada y oro esmaltado, y guarnecidos con camafeos antiguos y modernos, rubes y diamantes. Estas piezas datan de los siglos xvi y xvii y son producto de los talleres de Miln, Pars y Augsburgo. Sin embargo, el Prado se considera principalmente, y con razn, una galera de pinturas. Entre las ms de 8.000 que constituyen la coleccin, hay varias decenas que son cruciales para la comprensin de la historia del arte europeo. En comparacin con las pinturas de muchos otros museos, las del Prado estn por lo general maravillosamente conservadas. Habiendo permanecido durante siglos en la misma coleccin, sin haberse expuesto al mercado del arte ni a las

Fig. 10. Annimo Ofrenda de Orestes y Plades (Grupo de San Ildefonso) ca. 10a.C.Mrmol,161cm106cm56cm, 496kg.

Fig. 9. Francisco de Goya Saturno devorando a un hijo 1820-1823.leosobrelienzo,146cm83cm. 16

Fig. 11. SaladelasMusas.AmpliacindelMuseo delPradodiseadaporRafaelMoneo,2007. 17

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atenciones a menudo excesivas de los restauradores comerciales, las pinturas han sobrevivido con sus superficies intactas, sus colores frescos y sus empastos ntidos. Muchas pinturas del Prado retienen su acabado original. Se ven tal como lo quera el artista, y esto hace de una visita al Prado una experiencia esttica de exquisito placer fsico. El Prado en el siglo xxi En 2002, el Prado comenz la construccin de su nueva y muy necesaria ampliacin al edificio Villanueva; los nuevos espacios se abrieron al pblico a fines de 2007 (figs. 11 y 12). Diseada por el arquitecto espaol Rafael Moneo, ganador del Premio Pritzker, la ampliacin se extiende elegantemente sobre la pendiente que lleva hacia los Jardines del Retiro e incorpora el austero claustro del siglo xvii de la iglesia de los Jernimos, aadiendo as ms de 15.000 metros cuadrados (casi 162.000 pies cuadrados) tiles, equivalentes a ms de la mitad del edificio principal. La nueva ala, con fachada en ladrillo rojo, piedra de Colmenar, granito de Madrid y bronce patinado, provee al museo instalaciones indispensables: un amplio vestbulo, un auditorio, salas de exposiciones, mayores depsitos para obras de arte, los ms avanzados talleres de restauracin con abundante luz natural y un nuevo gabinete para grabados y dibujos. Con la apertura de la ampliacin, el Prado ha recuperado unas 25 salas del edificio principal y ha comenzado un extenso proceso de reorganizacin de las colecciones, incluida la de pinturas y esculturas del siglo xix. El museo ha seguido adquiriendo pinturas importantes, entre ellas obras de Juan de Flandes, Goya, Velzquez y, recientemente, Pieter Bruegel el Viejo (en 2010), y ha continuado organizando significativas exposiciones de artistas como Rubens, Patinir, Picasso, Tintoretto, Turner y Joaqun Sorolla. El Prado tambin ha abierto sus puertas a artistas contemporneos, mostrando obras del fotgrafo alemn Thomas Struth, el exponente del pop britnico Richard Hamilton y el estadounidense Cy Twombly, obras estas que fueron producidas en el Prado o inspiradas por pinturas de su coleccin. En 2009, el museo inaugur su Centro de Estudios en el Casn del Buen Retiro, y es all donde se desarrolla gran parte de la investigacin actual sobre las obras de la coleccin, con frecuencia como parte de colaboraciones internacionales. En este Centro se renen historiadores del arte, curadores, restauradores y especialistas tcnicos para arrojar luz sobre ms de veinte siglos de arte europeo. Tradicionalmente se ha visto al Prado como un espejo de la historia de Espaa desde la poca en que los dominios de la corona se extendan desde los Pases Bajos hasta las Filipinas, culminando en la crisis de 1898, cuando los ltimos vestigios del podero imperial desaparecieron con la prdida de Cuba y Puerto Rico. Es una historia en que las imgenes han desempeado un papel esencial, ya fuera ilustrando el poder de la monarqua, como en el gran retrato ecuestre de Carlos V creado por Tiziano tras la victoria del emperador sobre la liga de prncipes alemanes en Mhlberg en 1547 (fig. 1), o la intensa religiosidad de Felipe II, reflejada en su inmensa admiracin por el Descendimiento de la

cruz de Rogier van der Weyden (trado a Espaa en 1559) (fig. 13), o las elegantes virtudes de los hidalgos espaoles, representadas en los retratos del Greco, o la profunda devocin popular a la Virgen de la Inmaculada Concepcin, reflejada en la obra de Murillo y Zurbarn, o los fervientes esfuerzos de reforma en el marco de la Ilustracin, reflejados en los retratos de Goya. Huelga decir que sin el Prado sera imposible entender el desarrollo del arte espaol, pero tambin es cierto que sin el Prado sera imposible tener una idea cabal de la historia de Espaa o incluso, citando una expresin anticuada, del carcter espaol.
Fig. 13. Roger van der Weyden Descendimiento ca. 1435.leosobretabla,220cm262cm.

Fig. 12. ClaustrodeLosJernimos,integradoen laampliacindelMuseodelPradodiseadapor RafaelMoneo,2007.

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La coleccin espaola del Museo de Arte de Ponce

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Fig. 1. Atribudo a Alonso Snchez Coello (ca. 1531-1588) La dama del clavel ca. 1570.leosobretabla,49,4cm38,7cm.

Fig. 2. Antonio Puga(1602-1648) La sopa de los pobres ca. 1630.leosobrelienzo,117,5cm161,5cm. 22

En esta ocasin extraordinaria en que el Museo de Arte de Ponce presenta a sus visitantes una seleccin de obras maestras del Museo del Prado, exponemos en salas adyacentes una muestra de nuestra propia coleccin espaola. Esperamos que estas diecisiete obras, que tambin exploran los temas del retrato, la pintura de gnero y la devocin catlica en Espaa desde los albores del siglo xvii hasta entrado el xix, enriquezcan la experiencia del pblico asistente a la exposicin principal al proponerle puntos de comparacin y contraste con las obras del Prado. Otras treinta pinturas y esculturas de nuestra coleccin espaola podrn admirarse en el resto del museo y en sus jardines. El fundador del Museo de Arte de Ponce, Luis A. Ferr (1904-2003), y sus dos asesores principales, Julius Held (1905-2002) y Ren Taylor (1916-1997), el primer director del museo, fueron quienes a lo largo de cuarenta y cinco aos desarrollaron la coleccin espaola, compuesta de unas sesenta obras, a la vez que adquiran arte de otras escuelas con nfasis particular en arte victoriano, barroco italiano, acadmico francs y puertorriqueo. Fue a raz de varios viajes a Europa, el primero en 1950, que Ferr y su esposa Lorencita Ramrez de Arellano (1902-1970) comenzaron a formar una coleccin de arte con la intencin de destinarla a un museo que Ferr proyectaba para su Ponce natal. Ambos soaban con traer al pblico un rico panorama del arte occidental, desde el Renacimiento hasta el siglo xx, y convertir al Museo de Arte de Ponce en un importante centro de pintura y escultura europeas en el Caribe y Amrica. En 1957 Ferr obtuvo su primer grupo de pinturas europeas en una subasta en Nueva York. Con el asesoramiento de Held, especialista en Rubens y profesor de historia del arte en Barnard College y Columbia University, Ferr continu adquiriendo obras de alta calidad, si bien muchas eran de artistas menos reconocidos o de atribucin incierta. La dama del clavel (fig. 1), atribuida en el pasado a Alonso Snchez Coello, es un buen ejemplo de esto ltimo. Una vez integrado el retrato a la coleccin del Museo de Arte de Ponce, diversos expertos espaoles propusieron que podra ser obra de otros pintores activos durante el reinado de Felipe II. La exposicin Del Greco a Goya nos ofrece la ocasin nica de revisitar esta pintura a la luz de dos obras del crculo de Snchez Coello pertenecientes al Prado: La dama del abanico (cat. 10), del propio Snchez Coello, y El emperador Carlos V (cat. 9), retrato de Juan Pantoja de la Cruz basado en un modelo de Tiziano. Ferr supo aprovechar bien su presupuesto de adquisiciones, reaccionado con rapidez ante buenas oportunidades y dejndose llevar por su intuicin y buen ojo, ms que por la moda o el gusto popular. Held alent esta estrategia a lo largo de los aos. El incipiente Museo de Arte de Ponce abri sus puertas en 1959 en una casona colonial del casco histrico de Ponce. La muestra inaugural const de setenta y una obras, entre ellas catorce pinturas representativas de la escuela espaola. Llamaban la atencin particularmente La sopa de los pobres (ca. 1640, fig. 2), atribuida a Antonio de Puga, y la opulenta Mujer con vestido azul de satn (1873) de Rogelio de Egusquiza (fig. 3). El San Pablo de Ribera (fig. 4) es un retrato de busto oval de gran intensidad y una de las poqusimas obras sobre tabla

Fig. 3. Rogelio de Egusquiza (1845-1913) Mujer con vestido azul de satn 1873. leo sobre lienzo, 80 cm 58 cm.

Fig. 4. Jusepe de Ribera(1591-1652) San Pablo ca.1630.leosobretabla,49,53cm38,2cm. 23

que hizo el artista. El mismo ao de la apertura del museo Ferr compr otra pintura de Ribera, el San Jernimo (1648, fig. 5). Esta obra ofrece un interesante contraste con el San Sebastin del mismo autor del Prado (cat. 3). En la obra de Ponce, Ribera haba ya regresado a su estilo caravaggesco, ms oscuro y crudo, mientras que el lienzo del Prado, fechado casi diez aos antes, evidencia la etapa en que Ribera descubre las formas de inspiracin clsica y una paleta ms clara, como se aprecia en las pinturas de la escuela boloesa. En la apertura del Museo tambin se exhibi un cuadro entonces reciente de Cristbal Ruiz Pulido, un retrato de tres cuartos de su compatriota, el gran violonchelista Pablo Casals, pintado en 1957 en San Juan, donde ambos artistas se haban exiliado en rechazo del rgimen de Francisco Franco. Poco despus de inaugurado el museo, Ferr adquiri dos pinturas de gran formato con el tema de la Inmaculada Concepcin. La primera era de Antonio de Pereda, fechada en 1657, y la segunda de Bartolom Esteban Murillo, la Inmaculada Concepcin del espejo (ca. 1675, fig. 6). Esta ltima haba sido adquirida en 1807 en Madrid por el famoso coleccionista, marchante y pintor francs Jean-Baptiste Lebrun, y luego de pasar a importantes colecciones privadas en Londres, Los ngeles y Nueva York haba llegado a Ponce. Murillo pint ms de una docena de versiones de la Inmaculada Concepcin, adems de otras devociones marianas como la Virgen del Rosario (cat. 6). Debido a su procedencia, la versin del museo de Ponce es quiz una de las ms reconocidas. En 1962 Held consigui la donacin de quince obras de la Fundacin Samuel H. Kress al Museo de Arte de Ponce, entre ellas notables pinturas espaolas tales como Pentecosts (ca. 1520), imagen de gran fuerza expresiva de Pedro Machuca, y el retrato del Cardenal don Gaspar de Borja y Velasco (ca. 1643), entonces atribuido a Velzquez y que haba estado expuesto por muchos aos en el Metropolitan Museum of Art de Nueva York (fig. 7). En 1999, para conmemorar el cuarto centenario del pintor, la Real Academia de Bellas Artes de San Fernando solicit desde Madrid este retrato para exhibirlo junto al dibujo original a tiza negra hecho por Velzquez que se encuentra en su coleccin y a otras dos versiones al leo. El curador de la exposicin y exdirector del Prado, el historiador del arte Alfonso E. Prez Snchez, concluy que todava est por encontrarse el leo original de la mano del maestro. El funcionamiento del taller de Velzquez y la atribucin de muchas pinturas de su crculo presentan reas de investigacin fascinantes y relativamente inexploradas. Del Greco a Goya nos permite examinar el retrato del cardenal Borja que posee el Museo de Arte de Ponce en el contexto de dos lienzos del Prado provenientes del taller de Velzquez (los retratos orantes del rey Felipe IV y la reina Mariana of Austria, cats. 14 y 15) y otro lienzo del museo de Ponce, Mariana de Austria, viuda, pintado por el ms conocido de los colaboradores de Velzquez, Juan Bautista Martnez del Mazo (fig. 8). La coleccin espaola del Museo de Arte de Ponce empez a crecer con la llegada del primer director del museo, Ren Taylor, en 1963. Un ao antes, Taylor se encontraba en Estados Unidos dando unos cursos sobre arte espaol

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Fig. 5. Jusepe de Ribera(1591-1652), San Jernimo 1648.leosobretabla,120cm98,1cm.

Fig. 6. Bartolom Esteban Murillo(1618-1682) Inmaculada Concepcin del Espejo ca. 1675.leosobrelienzo,192,5cm145cm.

Fig. 7. Taller de Diego Velzquez(1599-1660) Retrato del Cardenal Don Gaspar de Borja y Velasco ca. 1643.leosobrelienzo,77,5cm62,5cm.

Fig. 8. Juan Bautista Martnez del Mazo (1613-1667) Mariana de Austria, viuda 1663.leosobrelienzo,135cm103,7cm.

Fig. 9. Joaqun Sorolla(1863-1923) Desnudo femenino 1886.leosobrelienzo,61,2cm80cm.

Fig. 10. Vicente Lpez Portaa(1772-1850) El capitn Roche Hastings ca. 1830.leosobrelienzo,79cm60cm.

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Fig. 11. Eugenio Lucas(1817-1870) Escena morisca a la luz de la luna ca. 1860.leosobrelienzo,58,2cm66,2cm.

Fig. 12. Emilio Snchez-Perrier(1855-1907) Ribera del Guillena con lamo y campesino ca. 1890.leosobretabla,30,5cm57cm.

Fig. 13. Ignacio Zuloaga(1870-1945) Campesino vasco 1915.leosobrelienzo,188cm99cm.

Fig. 14. Pedro de Mena(1628-1688) Dolorosa 1670-5.Maderayyesopolicromados, 68,9cm57,4cm46,9cm.

Fig. 15. Jernimo y Miguel Garca (activosaprincipiosdels.XVII) San Jernimo penitente 1619.Barroymaderapolicromada, 49cm48,5cm.

Fig. 16. Luis Paret(1746-1799) Autorretrato 1776.leosobrelienzo,33,6cm23,4cm. ColeccinMuseodeSanJuan, MunicipiodeSanJuan.

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Fig. 17. Pedro Ruiz Gonzlez(1640-1706) Carlos II ante la Sagrada Forma 1683.leosobrelienzo,232cm 166,3cm.

Fig. 18. Claudio Coello(1642-1693) Susana y los viejos ca. 1663.leosobrelienzo,122,5cm138,1cm. 28

y Ferr lo invit a dar unas charlas en Ponce. Poco despus, Ferr le propuso la direccin del museo, cargo que ocupara durante veinticinco aos. Taylor naci en Londres y estudi en la Universidad de Barcelona. En 1936, al estallar la Guerra Civil Espaola, continu su educacin en historia del arte y literatura y lengua castellanas en la Universidad de Londres. En 1953 se mud a Espaa con su familia para ensear ingls en la Universidad de Granada. Durante su estancia en Espaa se dedic a estudiar la arquitectura barroca andaluza y escribi su tesis doctoral sobre Francisco Hurtado Izquierdo, arquitecto de la cartuja de Granada. Tan pronto lleg a Ponce, Taylor se enfrasc en la mudanza del museo a su nuevo edificio, diseado por Edward Durell Stone, que se inaugur dos aos ms tarde. La primera adquisicin de arte espaol bajo la direccin de Taylor fue el hermoso Desnudo femenino (1886, fig. 9) de Joaqun Sorolla, que se inserta en la tradicin iniciada por Velzquez con su Venus del espejo y continuada por Goya con sus majas, vestida y desnuda. (Por cierto, Taylor hered una de las paletas de Sorolla y un ao despus la don al Museo de Arte de Ponce). Held y Taylor sentan una atraccin especial por la pintura espaola del siglo xix, y gracias a su experiencia y asesora, el Museo de Arte de Ponce posee un excelente grupo de obras que abarcan todo el siglo, tanto en sentido cronolgico como temtico. Entre ellas sobresalen un soberbio retrato acadmico de Vicente Lpez Portaa, el Capitn Roche Hastings (ca. 1830, fig. 10), dos escenas orientalistas de tema morisco por Eugenio Lucas (ca. 1860, fig. 11) y el evocador lienzo de Emilio Snchez Perrier Ribera de Guillena con lamo y campesino (ca. 1890, fig. 12), obra de estilo realista con influencias de la escuela de Barbizon. Entrando ya en el siglo xx, Campesino vasco (1915), de Ignacio Zuloaga, exalta la fuerza elemental de la naturaleza y a aquellos que labran la tierra (fig. 13). Entre las aportaciones de Taylor al proyecto del nuevo edificio estuvo disear y ayudar a construir el Jardn de Granada, donde se coloc una fuente de mrmol andaluza del siglo xvii. A lo largo de los aos, Taylor jug un papel decisivo en el fortalecimiento de la coleccin espaola del museo y en la expansin de su mbito de inters con esculturas religiosas barrocas como la conmovedora Dolorosa de Pedro de Mena (fig. 14) y el fascinante escaparate con San Jernimo penitente (una escena tridimensional dentro de una vitrina, fig. 15), realizado por los maestros talladores granadinos Jernimo y Miguel Garca (1619). Taylor abri otro camino ms al organizar las primeras retrospectivas de dos artistas puertorriqueos vinculados con Espaa: Francisco Oller (1833-1917) y Jos Campeche (1751-1809). Es muy probable que Campeche hubiera entablado relacin con el pintor rococ espaol Luis Paret y Alczar durante el exilio de ste en San Juan, de 1775 a 1778. La exposicin Del Greco a Goya reunir por primera vez el Autorretrato vestido de jbaro (1776, fig. 16) y el Autorretrato en el estudio (ca. 1786, cat. 17) de Paret, el primero perteneciente al Museo de San Juan y el segundo al Prado. Pintadas a unos pocos aos la una de la otra, estas obras presentan un marcado contraste: en la primera vemos a un artista afluente y sofisticado en actitud meditativa;

Fig. 19. Francisco Camilo(1615-1673) Nio Jess triunfando sobre la Muerte y el Pecado ca. 1650.leosobrelienzo,105,7cm81,8cm.

Fig. 20. Francisco de Zurbarn(1598-1664) Crucificado ca. 1630.leosobrelienzo,167,6cm118,5cm. 29

en la segunda lo vemos como un robusto campesino, machete en mano y racimo de pltanos al hombro. En carta a Ferr poco despus de inaugurado el museo, comentaba Held: Los amantes e historiadores del arte (que no siempre son los mismos) ansan la emocin del descubrimiento. Si me dieran a escoger entre visitar un lugar con 10 pinturas, cada una de un maestro famoso, y otro con 200 pinturas, cada una de un pintor menos conocido, no vacilara ni un momento en decidir. Este camino menos transitado se extiende ante los que visitan el museo de Ponce en la soberbia coleccin de pinturas del Pleno Barroco madrileo, algunas de las cuales datan del reinado de Carlos II. Este rey fue un importante mecenas, aunque qued eclipsado por su padre Felipe IV en este aspecto igual que en lo poltico. El hechizado, como llamaron a este ltimo monarca habsburgo de Espaa, aparece arrodillado piadosamente en la obra de Pedro Ruiz Gonzlez Carlos II ante la Sagrada Forma (fig. 17, adquirida antes de la llegada de Taylor), pintura que encarna la devocin de su tiempo. Otra pintura notable del Pleno Barroco espaol haba entrado a la coleccin cuando se inaugur el edificio nuevo en 1965. Ferr adquiri Susana y los viejos (ca. 1663, fig. 18), de Claudio Coello, en 1964. El artista tena veintids aos cuando la hizo, y la obra descuella por su explcito erotismo. Se trata de una de las raras representaciones del desnudo femenino en el arte barroco espaol, y es la nica pintura conocida de Coello sobre un tema del Antiguo Testamento. Sus tonalidades clidas y la pincelada suelta sugieren la influencia de Rubens y Tiziano, dos pintores protagonistas en las colecciones reales de Espaa. Otra obra del mismo perodo y adquirida para el tiempo en que se adquiri Susana es El nio Jess victorioso sobre el Pecado y la Muerte (fig. 19), de Francisco Camilo (ca. 1650). En ella se funden la alegora religiosa con la pintura de devocin, igual que en El Salvador bendiciendo de Zurbarn (cat. 4), perteneciente al Prado, aunque la impresin de movimiento y la paleta sombra de Camilo no podran distar ms del color y la sobriedad de Zurbarn. Los intereses de Ferr y Taylor por lo espaol coincidan plenamente en la coleccin de pintura barroca andaluza del Museo de Arte de Ponce. En 1984, a invitacin de la Universidad de Crdoba, Ferr dio una conferencia sobre el tema en Priego de Crdoba, precisamente el pueblo donde se haban establecido sus antepasados maternos all por 1710. Poco despus, para honrar a Ferr en el vigsimo quinto aniversario del museo, Taylor organizara la exposicin titulada El Barroco andaluz, con trece obras de la coleccin permanente, muchas de ellas adquiridas por l mismo para el museo. Otras exposiciones significativas de arte espaol en el Museo de Arte de Ponce han sido Francisco de Goya (1995), Los Sorolla de Valencia (1996), Naturalezas muertas y flores del Museo de Bellas Artes de Valencia (1997), Pablo Picasso: Suite Vollard (1998) y Julio Gonzlez en la coleccin del Institut Valenci dArt Modern (2006). En sus ltimos aos, Ferr concert esfuerzos para fortalecer la coleccin espaola con obras de varios de los pintores ms importantes: Zurbarn, el Greco, Luis de Morales y Goya, a quienes haba admirado desde los aos cincuenta. El Crucificado de Zurbarn, comprado en 1998 (fig. 20), alcanza

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Fig. 21. El Greco(ca. 1541-1614) San Francisco y el hermano Leo, meditando ca. 1605.leosobrelienzo,155,3cm100cm.

Fig. 22. Luis de Morales(ca. 1520-1586) Cristo atado a la columna ca. 1566.leosobretabla,54,5cm41,25cm. 30

niveles de ilusionismo inigualados en su tiempo. Se dice que las calidades escultricas de los crucificados de Zurbarn confundieron a muchos, hacindoles pensar que se trataba de tallas y no pinturas, una reaccin comprensible sobre todo si consideramos la impresin que debe haber causado en el devoto una pintura vista en una capilla a media luz. Este lienzo establece un dilogo interesante con La crucifixin del Prado, realizada por un contemporneo de Zurbarn, el tambin andaluz Alonso Cano (cat. 7), quien para conmover al observador utilizaba los recursos del ritmo y el color, ms que los volmenes o la iluminacin dramtica. En 1999, para celebrar su nonagsimo quinto cumpleaos, Ferr adquiri el San Francisco y el hermano Leo, meditando (ca. 1605, fig. 21) del Greco. Esta composicin, de la cual se han identificado no menos de treinta versiones, goz de mucha popularidad entre la clientela del Greco en Toledo, donde haba diez instituciones franciscanas. El lienzo sirve de complemento al San Juan Evangelista (cat. 1) y al San Sebastin (cat. 2) del Prado, y en conjunto los tres son una fascinante invitacin a plantear preguntas sobre la colaboracin entre el artista y sus ayudantes y el funcionamiento del taller. En el ao 2000, varios donantes aportaron a la compra del Cristo atado a la columna (ca. 1566, fig. 22) de Luis de Morales para el museo de Ponce. Luis de Morales fue nombrado en 1564 pintor oficial del reformador catlico Juan de Ribera, obispo de Badajoz, quien con toda probabilidad le encarg esta pintura. La delicadeza del trazo en la barba de Jess, sus largas pestaas, sus lgrimas, lesiones e incluso en las gotas de sangre, va destinada a estimular la compasin del observador, contraponiendo la gentil belleza fsica del Cristo a la crueldad de sus verdugos. El carcter contemplativo de esta pintura ejemplifica el impacto que tuvo en las artes visuales una tendencia espiritual que el Greco habra de encontrar al llegar a Espaa y que consista en alentar a los lectores de textos devocionales a evocar vvidas imgenes mentales con el fin de suscitar en ellos un reaccin emotiva. Tambin es posible relacionar esta prctica con ciertos aspectos de la produccin de Zurbarn. La ltima adquisicin relevante de Ferr para la coleccin fue el retrato que pint Goya de su amigo el banquero y comerciante Martn Zapater (1790, fig. 23). (Existe una segunda versin en la coleccin del Museo de Bellas Artes de Bilbao). Esta pintura resulta una magnfica compaera para las de Tadea Arias de Enrquez (cat. 18) y Fernando VII en un campamento (cat. 19), pues ofrece un grato contrapunto informal a los dos lienzos del Prado. El carcter ntimo del retrato que le hace Goya a su antiguo compaero de estudios y uno de sus primeros coleccionistas sugiere que la obra es un homenaje tanto al hombre como a la pervivencia de la amistad. El artista se incluye en el cuadro mediante una dedicatoria que el modelo sostiene en su mano derecha, una alusin a los ms de veinticinco aos de correspondencia entre ambos. Dichas cartas se publicaron por primera vez en 1868 y ofrecen valiosos datos sobre los inicios de la carrera de Goya en la corte de Carlos III. Resulta apropiado que esta obra se adquiriese en 2002, el mismo ao en que falleci Held, quien se escribi durante cuarenta aos con su amigo Ferr. Gracias a estas

adquisiciones en los umbrales del siglo xxi, la coleccin espaola del Museo de Arte de Ponce bien permite, al igual que esta exposicin, recorrer el camino del Greco a Goya.

Fig. 23. Francisco de Goya(1746-1828) Martn Zapater 1790.leosobrelienzo,84cm66cm.

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Domenicos Theotocopoulos, conocido como El Greco San Juan Evangelista

ca. 1605.leosobrelienzo,99cm77cm.P2444.

Las series de pinturas que representan a los doce apstoles, conocidas a veces como apostolados, fueron un subgnero comn en la pintura religiosa del Siglo de Oro espaol. Dichas imgenes podan formar parte de retablos y tambin se usaban con frecuencia para decorar las paredes de monasterios, conventos y casas particulares. Esta pintura representa a san Juan el Evangelista, autor del ltimo de los cuatro evangelios y del Apocalipsis. Los retratos de apstoles pintados por El Greco pueden clasificarse en dos grupos: el primero abarca un gran nmero de lienzos relativamente pequeos que siguen frmulas visuales parecidas a las del San Juan Evangelista del Prado, mientras que el segundo comprende otros ejemplos en los que muestra a los santos de cuerpo entero y de dos en dos. Las pinturas de medio cuerpo tienen claros precedentes en la escuela veneciana, pero el estilo nico del Greco aflora naturalmente incluso cuando el artista sigue esquemas tradicionales. Iluminado por una luz sobrenatural plateada, el santo aparece en actitud serena y elegante contra un fondo de nubes borrascosas que parecen formar un singular halo en torno suyo. La figura, de canon alargado hasta lo inverosmil, parece animada por la pulsacin rtmica de luces y sombras. Estos rasgos tpicos del estilo del Greco responden a su ideal artstico, que buscaba conciliar el disegno florentino y el colorito veneciano. Mientras los manieristas florentinos y romanos daban prioridad al dibujo, la lnea y la forma y a menudo producan pinturas fras, de aspecto artificial y afectada elegancia, sus equivalentes venecianos preferan un enfoque menos intelectual, ms sensual, basado en el uso de colores suntuosos y brillantes, con una compleja aplicacin en capas. En esta obra es evidente el conocimiento directo que tena el Greco de ambas escuelas de pintura, adquirido durante los aos de formacin que pas en

Italia, un momento definitivo en el desarrollo de su personalidad artstica. En la iconografa cristiana era tradicional representar a los santos con objetos asociados con su vida o su leyenda para facilitar su identificacin por parte del espectador. En el presente cuadro, el Greco presenta a san Juan con uno de sus atributos tpicos, una copa, que en la pintura toma la forma de un elaborado cliz dorado, similar a los que eran comunes en tiempos del Greco. La pequea serpiente alada que se retuerce en el interior del cliz alude a un episodio de la Leyenda dorada de Santiago de la Vorgine una recopilacin medieval de vidas de santos, segn el cual Juan tuvo que probar la verdad de su predicacin apostlica bebiendo de una copa envenenada sin sufrir ningn dao. En este ejemplo, el santo dirige su mirada hacia un punto que queda fuera de la pintura, mientras que con la esbelta mano izquierda hace un gesto como si invitara a alguien a mirar el cliz que sostiene con la derecha. El hecho de que no vemos al interlocutor del santo confiere a la pintura un aire enigmtico. Hay otra versin de esta obra en una coleccin privada, aunque en su estado actual esta ltima no muestra la mano derecha del santo con el cliz y la figura se presenta sobre un simple fondo oscuro. La existencia de pinturas similares y la reutilizacin de motivos dan testimonio del sistema de produccin colectiva del taller del Greco, con el cual el artista trataba de satisfacer la demanda que tena su trabajo: es probable que en el taller del pintor existieran cuadros que se usaran como modelos, que los diferentes asistentes habran de copiar en su integridad o de forma parcial. Pablo Prez dOrs

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Domenicos Theotocopoulos, conocido como El Greco San Sebastin

ca. 1610-1614.leosobrelienzoendosfragmentos:superior115cm85cm,inferior91cm115cm.P3002,P7186.

De acuerdo con las antiguas tradiciones recopiladas por Santiago de la Vorgine en La leyenda dorada (1264), san Sebastin fue un soldado romano del siglo iii, miembro de la guardia pretoriana, una de las unidades ms prestigiosas del ejrcito imperial, en una poca en que los cristianos eran objeto de persecucin activa por parte del emperador Diocleciano. Fiel a sus creencias, Sebastin exhortaba a sus compaeros cristianos a morir antes que renunciar a su fe, y dio ejemplo l mismo cuando intentaron hacerlo apostatar. Debido a la manera en que fue torturado (lo ataron desnudo a un rbol y lo acribillaron con flechas), las representaciones de san Sebastin ofrecan a los pintores la oportunidad de experimentar con las posibilidades estticas del desnudo masculino. El San Sebastin del Prado es un excelente ejemplo de la visin del Greco respecto al desnudo. En vez de imitar a la naturaleza, la reinterpreta para producir una versin intelectual, conscientemente artificial. Su inters principal es plasmar una escena surgida del mundo imaginario del artista, ms que reproducir con fidelidad lo que el ojo ve cotidianamente. El Greco logra este fin, ante todo, mediante su caracterstico alargamiento de la figura humana. Msculos y extremidades se conectan sin importar las proporciones fsicas normales; lo que el artista se propone es explotar al mximo el potencial expresivo del cuerpo. El pie izquierdo del santo est apoyado en la punta de los dedos, apenas tocando el suelo, y la figura con su pulsante contorno parece elevarse como una llama. De esta forma el Greco expresa su percepcin de la experiencia interior del mrtir, ese momento dramtico en que su alma ansa abandonar el cuerpo y ascender. Este movimiento hacia lo alto culmina en la cabeza que corona un cuello extraordinariamente largo, como si ella tambin se estirara hacia los cielos. La mirada del santo se dirige hacia arriba y su serena expresin sugiere una actitud de tranquila aceptacin, acorde con los preceptos catlicos sobre la manera ideal de enfrentarse a la muerte. La iluminacin de la escena realza este drama silencioso: el fondo, con una vista de Toledo a la derecha, es una sobrecogedora

oscuridad tormentosa, mientras que el cuerpo del santo est envuelto en un resplandor sobrenatural. Las nubes forman una especie de halo detrs de Sebastin, creando una interesante ambigedad: no se sabe con certeza si las nubes pertenecen al mbito de lo natural o lo sobrenatural. Las transiciones entre luz y sombra estn ejecutadas con la pincelada sutilsima que caracteriz el estilo tardo del Greco. No est claro por qu el pintor aadi una vista de Toledo al fondo de esta escena religiosa, puesto que san Sebastin nunca estuvo en Espaa. Sin embargo, estas vistas de Toledo al parecer incongruentes se observan tambin en otras de sus pinturas, como el Laoconte (National Gallery of Art, Washington, dc). Idntica vista aparece en San Jos con el Nio Jess (catedral de Toledo, capilla de san Jos) y en San Martn y el pobre (National Gallery of Art, Washington, dc). Aunque no se ha encontrado una explicacin definitiva, hay varias hiptesis que pueden ayudarnos a entender el uso del fondo en este caso en particular. Si el mecenas que encarg la pintura era de Toledo, pudo haber pedido que se incluyera el familiar paisaje urbano como sea de identidad, o quizs para poner a su ciudad simblicamente bajo la proteccin de san Sebastin. Sea cual fuere la razn, al colocar la escena del martirio en un lugar reconocible para el observador, el Greco podra haber querido subrayar la vigencia del ejemplo y la intercesin de san Sebastin para sus coetneos en la Espaa de principios del siglo xvii. La peculiar presentacin de esta pintura se debe a que en algn momento el lienzo fue dividido en dos segmentos, con el cuerpo de san Sebastin en la parte superior y las piernas y la vista de Toledo en la parte inferior. Se desconoce por qu o cundo se hizo esta modificacin, pero afortunadamente la parte inferior apareci en el mercado unos aos despus de que se donara al Prado la parte superior, con lo cual se hizo posible reunir las dos piezas.

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Jusepe de Ribera San Sebastin

1636.leosobrelienzo,127cm100cm.P1095.

En vida de Ribera, Npoles fue un puerto comercial muy activo y una de las ciudades ms pobladas de Europa. El trfico frecuente de barcos venidos del Mediterrneo oriental supona una va de entrada para enfermedades contagiosas, lo que unido al hacinamiento de la poblacin haca que Npoles fuera una ciudad especialmente vulnerable a los brotes de peste. De hecho, la epidemia de 1656 fue tan devastadora que arras con la mitad de los habitantes de la ciudad y dej un vaco en la comunidad de artistas, pues muchos de los mejores pintores de esa generacin murieron de forma prematura, vctimas del contagio. A san Sebastin se le consideraba intercesor contra la peste ya desde la Edad Media, por lo cual era muy popular en la ciudad adoptiva de Ribera y en otros lugares atacados de forma peridica por esta enfermedad. Esto propici que la Iglesia y comitentes particulares napolitanos dedicaran iglesias y capillas al santo, con la consiguiente demanda de imgenes como sta. La interpretacin de san Sebastin que hace Ribera est permeada de naturalismo y a la vez del lenguaje estilstico de la antigedad clsica, reflejando las inquietudes estticas del arte italiano de la poca. La composicin, con el santo de medio cuerpo en primer plano, muy cerca del espectador y junto al borde inferior de la pintura, recuerda imgenes similares de Caravaggio. Esta composicin permite al pintor centrar su atencin en el torso, de volumen y corporeidad muy logrados, que est iluminado con una luz dirigida. Sin embargo, en vez de escoger para el santo un modelo ordinario y tosco, como habran prescrito los dictmenes del naturalismo ms estricto a la manera de Caravaggio, Ribera concibi su apariencia fsica de modo que recuerda a una estatua de la antigedad clsica. Este cambio de ideal esttico se debe a la asimilacin por parte de Ribera de cuadros de la escuela romano-boloesa, por ejemplo

los del pintor Guido Reni. Las proporciones y anatoma del santo estn plasmadas con precisin acadmica, mientras que el rostro, a pesar de su idealizacin, tiene el suficiente carcter individual como para dar a la figura del santo la apariencia de una persona real, creble. Este cuadro aparece en un inventario del taller de Velzquez en el Alczar de Madrid realizado despus de la muerte del pintor, y es claro que debi de ser estudiado y admirado por l. Las pinturas y muchos de los dibujos de Ribera, que tambin fue dibujante experto y prolfico, muestran su inters en la representacin de escenas de violencia y tortura. Esto llev a muchos crticos del pasado, sobre todo en el extranjero, a imaginar al pintor como un individuo sdico y cruel, e incluso a extender este prejuicio al arte espaol en general. Sin embargo, en la mayora de las ocasiones como en el caso del presente lienzo, el artista se decant por presentar un momento de menor dramatismo, en vez de explotar el potencial del asunto y mostrar una escena ms brutal. En el caso del San Sebastin del Museo del Prado (muy similar a otro del mismo autor que se encuentra en el Museo de Bellas Artes de Sevilla), solo las flechas y el rostro vuelto hacia lo alto introducen un elemento de violencia en un desnudo masculino por lo dems sosegado y poco sangriento, en el cual las heridas de san Sebastin son un foco de atencin ms bien secundario, de menor importancia que la belleza de la anatoma. En cambio, el artista ha preferido resaltar el momento de recogimiento en que el santo acepta la muerte con serenidad y se prepara para entregar su alma y entrar al reino de los cielos.

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Francisco de Zurbarn El Salvador bendiciendo

1638.leosobrelienzo,100cm72cm.P6074.

Este es el nico ejemplo conocido en la pintura de Zurbarn que refleja la iconografa medieval de Jess como salvador, lo que hace a este cuadro especialmente interesante para los historiadores del arte. Ejemplos similares haban decorado las pginas del Nuevo Testamento en las Biblias ilustradas desde la poca medieval hasta el siglo xvi, pero eran ya raros para la poca en que Zurbarn pint su versin de este tema. El precedente ms directo es un grabado de los hermanos Wierix al que Zurbarn debi de tener acceso. (Las estampas de temtica religiosa de estos artistas flamencos gozaron de gran circulacin en Espaa, y fueron coleccionadas y utilizadas con frecuencia por los pintores). Tomando esa composicin como punto de partida, el artista decidi agrandar los motivos del orbe y la cruz, quizs para enfatizar el contenido teolgico y doctrinal del cuadro. Las imgenes de Jess bendiciendo con la mano derecha mientras con la izquierda sostiene un orbe rematado por una cruz son claramente simblicas y no corresponden a ningn momento particular en la narrativa de los evangelios. El orbe simboliza el universo, mientras que la cruz alude al mensaje cristiano de la redencin; por lo tanto, la iconografa representa visualmente las facetas de Jess como soberano y redentor de la humanidad. Al mismo tiempo, esta imagen puede haber tenido una connotacin eucarstica, dado que, aunque quizs no sea inmediatamente evidente para el espectador actual, la posicin de las manos de Jess habra recordado a los contemporneos de Zurbarn los gestos del sacerdote en el momento de la consagracin durante la misa (a su vez la pose en que a menudo se presenta a Jess en imgenes de la ltima cena). Auque la iconografa es relativamente inusual, la figura de Jess responde a convenciones muy conservadoras. Aqu vemos a un hombre joven, vestido con tnica roja (la prenda sin costura

que aparece mencionada en Juan 19:23) y manto azul. Existe un interesante contraste entre las manos y la cara de Jess: las uas y la piel, algo curtida, presentan una apariencia de verosimilitud como su hubieran sido observadas del natural, mientras que la cara y el cuello son de una belleza idealizada y formulaica y estn pintadas en tonos mucho ms plidos. La barba y el pelo, que Zurbarn ha plasmado con especial cuidado, as como las facciones, evocan los iconos bizantinos y tambin reliquias como los sudarios que se conservan en las catedrales de Oviedo y Jan, entre otras, que segn la tradicin muestran la impresin directa del rostro de Jess y por lo tanto eran tratados con gran respeto por los pintores. Como es caracterstico en la obra de Zurbarn, una fuerte luz dirigida resalta con nitidez los contornos cuidadosamente delineados de las formas y sus colores simples de tonos plidos, sobre los que se proyectan sombras fuertes. El fondo del cuadro consiste en un espacio oscuro y vaco, de manera que no se ofrece al espectador distraccin alguna y se contribuye en cambio a concentrar la mirada en la figura, mientras que el resplandor dorado alrededor de la cabeza de Jess acenta el carcter sobrenatural de la imagen y provoca la sensacin de estar, ms que ante una pintura, ante una visin. Por todas estas razones, el cuadro habra sido apropiado para la contemplacin privada o para uso similar en un entorno monstico. Este tipo de meditacin, en la que el fiel se concentraba en una imagen pintada como ayuda visual externa para estimular una respuesta emocional, era una de las muchas maneras en las que los espaoles del siglo xvii interactuaban con imgenes religiosas.

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Peter Paul Rubens La Sagrada Familia con Santa Ana

ca. 1630.leosobrelienzo,116cm91cm.P1639.

El artista barroco flamenco Peter Paul Rubens fue tambin un erudito humanista, coleccionista de arte y diplomtico. En 1628, Rubens viaj a Madrid para entrevistarse con Felipe IV (16211665) como parte de sus gestiones en la negociacin de un tratado de paz entre Espaa e Inglaterra. Durante su estancia all pint, entre otros temas, retratos de la familia real espaola. Felipe IV se impresion con la obra de Rubens y adquiri ms pinturas de este artista que de ninguno otro, incluidos los espaoles. La Sagrada Familia con Santa Ana era una obra significativa en la coleccin real y atrajo la atencin del eminente artista espaol Diego Velzquez (1599-1660). Adems de su cargo como pintor de corte de Felipe IV, Velzquez tena la responsabilidad de decorar las residencias reales. Escogi La Sagrada Familia con Santa Ana para la sala capitular de El Escorial, junto a obras maestras de Rafael (1483-1520), Tiziano (ca. 1490-1576) y otros, adems de la Inmaculada Concepcin que Rubens haba pintado durante su visita a Espaa en 1628-1629. El inventario realizado despus de la muerte de Felipe IV en 1665 incluye esta pintura. A fines del siglo xvii, Francisco de los Santos (1617-1692) describi sucintamente esta obra y su efecto sobre el observador: Junto al florero correspondiente al lado derecho, otro cuadro del mismo tamao, original de Rubens. Es tambin de Nuestra Seora con el Nio y San Jos y Santa Ana, de tanta alegra todo que no le mira ninguno que no sienta el corazn extraordinario gozo. Est Nuestra Seora sentada; el Nio en pie y desnudo sobre sus rodillas, tan galn, tan risueo, y con tanta ternura que se arrebata el alma. El vestido de Mara es de un vivo color escarlata y su manto es azul cobalto intenso. La Madre y el Nio estn conectados emocionalmente por el tacto ms bien que por la mirada. El Nio Jess toca tiernamente el seno desnudo de Mara con una mano mientras le posa la otra en el cuello. Mara abraza al Nio con una mano en su torso y la otra sostenindole el pie izquierdo. l dirige su mirada hacia las alturas, mientras la de ella se pierde en la media distancia. Santa Ana rodea con sus brazos a la Madre y al Nio, mientras contempla a su nieto. Un San Jos barbudo y entrado en aos observa a su hijo con la barbilla apoyada en la mano y una expresin fascinada por lo que tiene ante sus ojos. La proximidad de las figuras entre s y con respecto al plano del cuadro tiene el efecto de atraer al observador, hacerlo partcipe de ese crculo familiar.

Dada la conocida devocin personal de Rubens a la Virgen, es probable que esta obra tuviera un significado profundo para l. En efecto, forma parte de una serie de imgenes de la Sagrada Familia que el artista pint a fines de la dcada de 1620 y principios de la de 1630. En el siglo xvii, Espaa y otras reas de Europa experimentaron un reavivamiento catlico conocido como la Contrarreforma, la respuesta de la Iglesia Catlica a la Reforma protestante. Al arte en general, y al arte devocional en particular, se le dio la funcin de conmover el alma y con este fin Rubens cultiv la naturalidad, uno de los rasgos caractersticos de la pintura y la escultura barrocas. Adems, en reaccin al estilo artificial de los manieristas de fines del siglo xvi, busc reavivar la tradicin clsica. La Sagrada Familia con Santa Ana nos presenta una sntesis de la cultura clsica y la cristiana. Las figuras tienen proporciones armoniosas y estn estrechamente unidas en espacio y tiempo. Rubens emplea para ellas una disposicin arquitectnica y confiere a cada una la expresin de los ms altos valores cristianos de amor y sacrificio. Como observ Francisco de los Santos, en esta obra Rubens ha creado una escena domstica ntima y encantadora, cuya fuerza emocional se deriva no solo de la interaccin de las figuras sino tambin de la corporalidad y la sensualidad de la pintura misma. En las cortes de Carlos I en Londres (1625-1649) y Felipe IV en Madrid, Rubens haba entrado en contacto con obras del pintor veneciano Tiziano, quien se caracteriza por dos rasgos notables: su pincelada suelta y expresiva y su complejidad cromtica. Rubens estudi las pinturas de Tiziano e hizo numerosas copias. La Sagrada Familia con Santa Ana es un valioso ejemplar de la obra tarda de Rubens, posterior a 1630, que refleja esta influencia. Sus figuras de este perodo estn modeladas en lneas suaves, con pinceladas fluidas y expresivas. En todos sus elementos, desde la fluidez del trazo hasta la composicin compacta, La Sagrada Familia con Santa Ana ejemplifica los ideales de espontaneidad y naturalidad del Alto Barroco. Con ello Rubens acerca a estas figuras divinas al plano terrenal.

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Bartolom Esteban Murillo La Virgen del Rosario

1650-1655.leosobrelienzo,166cm112cm.P975.

En 1836, el crtico de arte ingls John Ruskin alab la tcnica de Bartolom Esteban Murillo e identific el carcter nico de su enfoque: Es cierto que sus vrgenes nunca son las diosas-madres de Correggio o Rafael, pero jams son vulgares: son mortales, pero en sus rasgos mortales se refleja tal luz de santa hermosura, tal belleza de alma dulce, tal amor insondable, que las hace a veces dignas rivales de la imaginacin de los ms excelsos maestros. La descripcin de Ruskin se aplica acertadamente a la Virgen que vemos en este maravilloso ejemplo de pintura devocional del eminente pintor sevillano del siglo xvii. En esta obra el artista crea un par de figuras de excepcional belleza, con rostros serios y poses serenas que les dan un aire de tristeza exento de sentimentalismo. La Virgen est sentada en un banco de piedra, rodeando con sus brazos al Nio Jess, que se sostiene con un pie apoyado en el banco y el otro en la pierna izquierda de su madre. El Nio, ya no tan pequeo, tiene la cabeza a la altura de la de la Virgen. En esta pose, mejilla con mejilla, las figuras muestran el gesto ms tierno y amoroso. Miran juntos al observador, con expresin solemne y sutil de devocin al objeto de su mirada: el fiel espectador. Murillo era miembro de la Cofrada del Rosario, hermandad dedicada a la veneracin de la Virgen Mara y, como pintura devocional que era, su Virgen del Rosario tena el propsito de servir de apoyo visual a los fieles en sus rezos. En efecto, el rosario se encuentra en el centro de la composicin, asido por ambas figuras. La naturaleza simblica del rosario en la obra, y para el propio Murillo, se manifiesta en el hecho de que ninguna de las dos figuras aparece pasando las cuentas como se hara al rezar las avemaras o los padrenuestros. La Virgen y el Nio no rezan; estn all para inspirar fervor en el espectador que s reza, arrodillado quiz, meditando sobre los misterios del rosario. Un saliente de piedra eleva a las figuras y las separa del observador, enfatizando su importancia y funcin. En versiones anteriores del tema, la Virgen sostiene al Nio Jess en su regazo. En esta versin, Murillo cambi la pose

del Nio, que ahora est de pie, en contrapposto, con la mano izquierda sobre el hombro derecho de la Virgen y la otra mano apenas visible en la sombra del rostro de su madre. Con la mano derecha, Mara cubre al Nio con un pao blanco, smbolo de pureza, a la vez que sostiene el rosario. Sujeta al Nio con un gesto maternal, leve pero firme. Las figuras naturalistas de Murillo comunican un mensaje espiritual de amor y sacrificio. La Virgen del Rosario es una muestra excelente del estilo temprano de Murillo. Las figuras estn modeladas con cuidado, para lograr solidez a la vez que gracia y belleza. Con su rostro ovalado, nariz y labios delicados, ojos oscuros, lmpidos, esta Virgen es la imagen viva de la santa hermosura. El artista ha empleado diversos tipos de pinceladas para definir texturas. El trazo grueso da solidez a los pliegues rojos y azules del vestido y el manto, mientras que el velo difano color verde olivo que cubre la cabeza y un hombro de Mara resulta de un toque ms ligero del pincel. La Madre y el Nio estn vivamente iluminados contra un fondo oscuro, en el estilo tenebrista (fuerte contraste de luz y sombra) caracterstico de este perodo en la obra del artista. Murillo fue un maestro del colorido: el rojo saturado del vestido de la Virgen es un llamativo complemento al azul brillante del manto que le cae en el regazo. La primera constancia que se tiene de esta obra fue su adquisicin por Carlos IV en 1788. Murillo goz del favor de los monarcas de la nueva dinasta espaola de los Borbones cuando la corte tena sede en Sevilla, y varias de sus obras fueron adquiridas para la coleccin real. Es posible que La Virgen del Rosario se haya pintado originalmente para un miembro de la clase media alta y profesional de Sevilla, ciudad en que Murillo vivi y trabaj toda su vida.

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Alonso Cano La Crucifixin

ca.1635-1665.leosobrelienzo,130cm96cm.P7718.

La Crucifixin es probablemente la imagen cristiana ms caracterstica, y sin duda fue una de las ms representadas y coleccionadas en la Espaa de los Habsburgos. En casi todas las iglesias y capillas se encontraban esculturas o pinturas de Cristo en la cruz, en sus variadas formas, y en las casas particulares servan como objetos devocionales. Los temas relacionados con la Pasin, que subrayan el carcter humano de Jess y su sufrimiento, fueron centrales en la vida espiritual de la Espaa del Siglo de Oro. Al plasmar estas escenas, los pintores y escultores se proponan conmover al observador al igual que lo hacan los poetas y predicadores con sus respectivos medios de expresin. Dado el carcter pblico de la devocin en ese entonces y la familiaridad de los espaoles del siglo xvii con el arte sacro, imgenes como esta eran para la mayora de ellos inseparables de la experiencia piadosa. Sobre un fondo oscuro de sombro ambiente crepuscular y horizonte bajo, el cuerpo plido, baado en un resplandor sobrenatural, parece emanar una luz interior. La posicin de la cabeza, inclinada hacia el pecho, y la herida en el costado sugieren que ya ha muerto. La gravidez del cuerpo sin vida est plasmada con destreza, y la anatoma proyecta un efecto general de gracia sutil. La elegancia de la postura est realzada por el uso iconogrfico de tres clavos posible porque Jess tiene un pie colocado sobre el otro en vez de los cuatro clavos representados usualmente por los pintores de la escuela sevillana. La interpretacin de Cano enfatiza la belleza fsica, no el deterioro ni el sufrimiento; el balance entre estos dos elementos era tema de inters para los artistas de la poca, como lo muestran los escritos de Francisco Pacheco, el terico y pintor sevillano, tutor de Cano y Velzquez.

Los evangelios mencionan que en las horas que precedieron a la muerte de Jesucristo, hubo tinieblas sobre toda la tierra (Mateo 27:45, Marcos 15:33, Lucas 23:44). En la pintura, el drama de la crucifixin ya ha concluido, y el pintor capta un momento que no se menciona explcitamente en ninguno de los evangelios: cuando todos los que presenciaron la crucifixin han abandonado el Glgota y solo queda el cuerpo inerte sobre la cruz. La escena trasmite una impresin de gran soledad, dirigida a afectar emocionalmente al observador y provocar una reaccin de empata, idea probablemente inspirada por los textos religiosos de la poca. La pintura emplea, pues, un acercamiento ms sutil y psicolgico a la Crucifixin que el despliegue usual de las terribles consecuencias fsicas de los azotes y el tormento horroroso de la Pasin. En vez de aludir a la narrativa mostrando la sangre, las heridas y los golpes en el cuerpo sin vida de Jess, el artista ha optado por pintar el cielo crepuscular del fondo en una lgubre tonalidad roja, como si la naturaleza misma reflejara la tragedia de su muerte. Cano desarroll este tema en muchas ocasiones, experimentando con diferentes posibilidades hasta alcanzar la madurez estilstica. Varias pinturas similares de su mano han llegado hasta nuestros das, y entre ellas una un poco ms pequea que se encuentra en el Museo de Bellas Artes de Granada es especialmente parecida a esta versin en escala, tono y composicin.

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Tiziano Salom

ca.1550.leosobrelienzo,87cm80cm.P428.

En los evangelios, la muerte de San Juan Bautista aparece como un breve episodio cargado de erotismo sdico. El personaje principal de la historia es la hija de Herodas, la amante adltera de Herodes Antipas, que fue rey de Galilea durante la poca de dominacin romana. El nombre de la hija de Herodas no aparece mencionado en los evangelios, y es el historiador judeorromano Flavio Josefo, en su obra Antiquitates Judaicae, quien da el nombre de Salom. Tras realizar una danza en un banquete, presumiblemente un despliegue de seduccin, Salom pidi como recompensa la cabeza de Juan el Bautista, que haba echado en cara a Herodes la inmoralidad de su relacin con Herodas. El rey accedi, y Salom le entreg a su madre la cabeza en una bandeja, a modo de macabra celebracin de su venganza (Mateo 14:1-11 y Marcos 6:22-28). A pesar de que los evangelios sean la fuente textual de la historia de Salom, el cuadro de Tiziano no puede considerarse en sentido estricto una pintura religiosa, puesto que no fue pintado para servir una funcin devocional ni para decorar un espacio de carcter sacro. Se tratara, en cambio, de un retrato ms o menos genrico al que se le ha dado la caracterizacin de Salom. Aunque desde finales del siglo xix se ha venido sugiriendo que Tiziano dio a esta Salom los rasgos fsicos de su hija Lavinia (existen tambin ciertas discrepancias con respecto a esta identificacin), el tratamiento del tema sugiere que el pintor estaba en este caso interesado en explorar la idea de belleza femenina, cargada de connotaciones erticas y a la vez moralizantes, ms que en la observacin y representacin de una modelo en concreto. La iconografa, adems de aportar al cuadro un elemento narrativo, hace posible una yuxtaposicin sugerente de las ideas de lujo, sensualidad y muerte, temas que estn presentes en la tradicin literaria en torno a la figura de Salom desde la Edad Media. Tiziano eligi una composicin de gran dinamismo, que estructur en torno a la diagonal formada por la cabeza

del Bautista, los brazos desnudos de Salom y los pliegues transparentes de la tela que le cae a sta por la espalda, dejada al descubierto por el vestido sugestivamente escotado. Mediante este recurso tan efectivo, el pintor logra sugerir el movimiento de la danza que Salom acaba de realizar justo antes de la ejecucin. Un mechn de pelo de la cabeza inerte cae de la bandeja de plata en lo alto del cuadro y roza de forma casual el brazo izquierdo de Salom, un detalle que contribuye a la atmsfera siniestra y sensual de la escena, a la que el espectador es invitado por la mirada insolente, por encima del hombro, que le dirige Salom. La joven lleva una lujosa diadema de oro, piedras preciosas y perlas, a juego con las perlas del tocado y los pendientes. Todos estos adornos, as como el estilo del vestido, en seda naranja, reflejan la moda de la clase alta de la poca en que se pint el cuadro; sin embargo, el corte provocativo del atuendo es incompatible con el recato con que vestan las damas de la aristocracia, lo que parece sugerir la intencin de caracterizar a Salom como una cortesana veneciana de mediados del siglo xvi. (Por todas estas razones, parece evidente que la protagonista del cuadro es Salom y no Judit, la herona virtuosa que decapit al gigante Holofernes, con cuyas representaciones existe en algunos casos cierta ambigedad). La fascinacin ejercida por Tiziano sobre los coleccionistas espaoles tiene su origen en el rey Felipe II, que prefiri a este pintor sobre cualquier otro y fue su cliente asiduo desde principios de la dcada de 1550 hasta su muerte. La impresionante procedencia de este cuadro, que pas por las colecciones de Felipe IV de Espaa y Carlos I de Inglaterra, pone de relieve el papel que jug el arte en la poca como regalo diplomtico entre nobles y monarcas que eran tambin vidos coleccionistas y conocedores de las artes.

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Juan Pantoja de la Cruz El emperador Carlos V, segn Tiziano

1605.leosobrelienzo,183cm110cm.P1033.

Un incendio ocurrido en el Palacio de El Pardo el 13 de marzo de 1604 hizo desaparecer los retratos de la Sala de Reyes, pintados por los mejores artistas de la poca: Tiziano, Antonio Moro, Alonso Snchez Coello y Sofonisba Anguisciola. Encastrados en marcos de estuco en la pared, los retratos de dicha galera, que haba sido organizada por Snchez Coello por encargo de Felipe II, no pudieron ser rescatados del fuego como otras pinturas y objetos artsticos de palacio. Felipe III, consciente de la importancia de este espacio como lugar simblico de representacin de la monarqua, acometi poco despus su reconstruccin, encargando esta misin a Juan Pantoja de la Cruz, discpulo de Snchez Coello, quien us modelos precedentes para recrear la nueva sala de retratos. La efigie del emperador presidi ambas galeras, representada segn el modelo creado por Tiziano, lo cual demuestra que la imagen oficial de Carlos V se encontraba ya definida, como lo estaba tambin el papel que los artistas de la corte ejercieron en la transmisin de esta imagen poltica. En una sociedad que desconoca el sentido de originalidad que caracteriza al mundo contemporneo, el empleo de copias y rplicas fue una prctica habitual, especialmente en los talleres de corte dedicados a la produccin de retratos, sin que por ello disminuyera el valor de las obras. La firma de Pantoja en esta pintura indicando su calidad de traductor hace suponer la consideracin que le merecan el original, el comitente para el que realizaba la copia y el lugar en el que sta iba a instalarse. Carlos V (1500-1558) fue el varn primognito de Juana I de Castilla y Felipe el Hermoso. Muy joven haba heredado por lnea materna los reinos de Castilla, Aragn y Navarra y sus posesiones italianas, y por lnea paterna, los territorios dinsticos de los Habsburgos. Tras su coronacin como Rey de Romanos

por el papa Clemente VII en 1530 en Bolonia, Carlos obtuvo notables victorias frente a los turcos y los protestantes, y bajo su mandato el imperio se ampli con la conquista de los territorios de ultramar. El xito de Tiziano consisti en la definicin de un modelo que reflejara tanto los rasgos fsicos del emperador como su poder militar y que conciliase la identidad del individuo con el concepto de dignidad imperial que ste representaba. De este modo, el retrato de Carlos V de cuerpo entero, armado con espada, bastn de mando y celada, se convirti en la imagen oficial del poder y en punto de partida para una iconografa de enorme fortuna en la casa de Austria, que alcanzara su plena definicin en los aos centrales del siglo xvi con el retrato ecuestre Carlos V en la batalla de Mhlberg y el de Felipe II, ambos hoy en el Museo del Prado. Tiziano acentu el clasicismo de la figura del emperador asimilando su aspecto al de los emperadores romanos mediante el empleo de la barba, que ayudaba a disimular el acentuado prognatismo de su mandbula, y de la armadura, elemento esencial en la iconografa de los Austrias. El medalln de la Virgen con el Nio y el collar del Toisn de Oro, smbolo de la orden de caballera medieval de la casa de Borgoa, hasta hoy la ms alta condecoracin de la monarqua hispana, expresan el compromiso del emperador con la defensa de la fe catlica en los extensos territorios de su imperio. Pantoja realiza un retrato de buena factura tcnica aunque quizs algo falto de expresin, acorde con el carcter de emblema icnico que haba adquirido la imagen del emperador para la memoria histrica de la casa de Austria.

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Alonso Snchez Coello La dama del abanico

10

ca. 1570-73.leosobretabla,62,6cm55cm.P1142.

En este retrato de busto largo, la dama lleva un vestido de color pardo oscuro lujosamente adornado por cadenetas doradas, con mangas rajadas y alto cuello abierto por delante a la manera flamenca. Se trata de un notable ejemplar de la retratstica espaola del reinado de Felipe II. Para empezar, est pintado sobre una fina madera tropical de color rojizo, tal vez caoba, un soporte realmente infrecuente en la pintura del siglo xvi. Otro elemento digno de destacar es el abanico plegable japons que porta la dama, una incorporacin de los usos y representaciones femeninas provenientes de Portugal, a donde llegaron los primeros abanicos orientales a finales del siglo xv. Los vnculos matrimoniales de las cortes de Madrid y Lisboa extendieron este accesorio extico a Espaa y a otras capitales europeas. El abanico pas muy pronto a convertirse en un atributo femenino y adems en un instrumento galante, propio de un elevado rango social, que se aada en los retratos pictricos a los tradicionales pauelos o misales con que se ocupaban las manos de las retratadas. En este caso, la dama coge el abanico de manera un tanto original: lo sujeta en su base con la mano derecha y lo pasa por detrs de la izquierda, que aparece extendida mientras dibuja un curioso zigzag con los dedos. Cabra preguntarse si esta frmula encerraba algn significado especfico, pero esto no es ms que una hiptesis por el momento imposible de demostrar. La disposicin de los brazos, el recorte de la mano derecha y las irregularidades del permetro ponen en evidencia que el cuadro era de dimensiones algo mayores y que posiblemente fue concebido como retrato sedente, en sintona con algunas imgenes de damas de alta alcurnia pintadas por Tiziano (La emperatriz Isabel de Portugal, 1548, Prado), Antonio Moro (Mara Tudor, reina de Inglaterra, 1554, Prado) y Alonso Snchez Coello (La princesa Juana, Descalzas Reales). Podra tratarse del retrato descrito en 1686 en el inventario de las llamadas piezas

pequeas de las bvedas (una dama con un abanico en la mano pintado en tabla) y cuyas medidas eran similares a las del retrato de Mara Tudor pintado por Moro (Prado, p2108) o al de Felipe II del taller de Tiziano (Prado, p452). En la testamentara de los bienes de Fernando VII, la obra aparece atribuida a Alonso Snchez Coello con una valoracin de ochocientos reales, muy alta en relacin con otros retratos (El caballero de la mano en el pecho, del Greco, apareca estimado en quinientos cuarenta). Algo ms tarde, en el inventario general de 1849 del Museo del Prado, se identific a la retratada como una infanta de Espaa. Ser probablemente alguna de las hermanas de Felipe II, una propuesta que se fue ignorando posteriormente pese a que el rostro de esta dama recuerda los rasgos caractersticos de los Austrias espaoles: los ojos claros y marcados por las ojeras, la nariz en caballete, la barbilla marcada y el pelo abundante, rizado y rojizo. Para Stephanie Breuer, ni la tcnica ni la composicin de la obra se ajustan a las caractersticas de Snchez Coello y Mara Kusche la ha situado entre las obras del flamenco Roln Moys. Por otra parte, Carmen Garrido, quien estudi la pintura para el catlogo de la exposicin que dedic el Prado al valenciano (donde, sin embargo, no lleg a incluirse), ha resaltado la calidad de la obra, considerando sus paralelismos tcnicos con otros retratos de Snchez Coello. Finalmente, la reciente limpieza del cuadro ha disipado muchas de las dudas en torno a su atribucin, y el nombre de Snchez Coello parece ms apropiado para explicar la resolucin pictrica de la cabeza, muy descriptiva y delicada en su tratamiento, aunque esta hiptesis no pueda ser, desde luego, concluyente.

Leticia Ruiz

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Santiago Morn La infanta Margarita Francisca, hija de Felipe III

ca.1610.leosobrelienzo,100cm72cm.P1282.

11

La presencia de retratos infantiles en las colecciones de pintura de los Austrias espaoles puede seguirse a lo largo de todo el siglo xvi. A partir de la dcada de 1570, este subgnero alcanz un mayor desarrollo de la mano de Alonso Snchez Coello, quien plasm en distintas ocasiones a las hijas de Felipe III en unas imgenes que, si bien reflejaban el crecimiento de las nias, mantenan todos los estereotipos formales de los rgidos retratos de corte. Incluso cuando se incluan algunos elementos infantiles, en realidad estos tenan el papel de anunciar los futuros roles de las nias dentro de la dinasta. En el reinado de Felipe III, la produccin de este tipo de obras aument considerablemente. La larga familia del monarca y su esposa, la reina Margarita de Austria, fue retratada de manera habitual. Las dificultades para que estos nios sobrepasaran la primera infancia explican el inters de Margarita por contar con retratos de sus hijos desde edades muy tempranas. En este ejemplar, uno de los ltimos hijos del rey, la infanta Margarita Francisca, que morira tempranamente (1610-1617), aparece de alrededor de un ao de edad, con el cabello recogido en un alto moete y sentada sobre dos cojines de color carmes. El fondo muy oscuro y sin elementos espaciales que distraigan al espectador hace que resalte la vivaz cara de la nia, as como su indumentaria y, sobre esta, el buen nmero de dijes y amuletos que porta. Es todo un repertorio de elementos protectores que se crea preservaban a los nios de los distintos males que los acechaban desde su nacimiento, entre ellos, el mal de ojo y los malos espritus. Precisamente de los malos espritus, y de las afecciones del odo, protegera la campanilla que cuelga de una larga cadena, as como la sonaja que lleva la nia en la mano derecha. El resto de los dijes son una garra de tejn engastada en plata, una castaa, una esfera, un medalln relicario y una arandela. Estos tres ltimos son de azabache, un material al que desde la Antigedad se le vienen atribuyendo propiedades medicinales y mgicas y que ha sido el ms utilizado en Espaa

desde la Edad Media, cuando los azabacheros de Santiago fabricaban amuletos para los peregrinos. Luego fue muy empleado para nios y mujeres junto al coral, el otro elemento protector por excelencia. Seguramente por influencia directa de Margarita de Austria, estos retratos de carcter supersticioso fueron bastante frecuentes durante el reinado de Felipe III, una concesin a la cultura popular que se alargara en el tiempo, como lo demuestra el extraordinario Retrato del prncipe Felipe Prspero de Velzquez (Viena, Kunsthistorisches Museum, Gemldegalerie) y uno de los caprichos de Goya: El de la Rollona. Fue Pedro Beroqui quien identific a la retratada como la infanta Margarita Francisca al relacionar esta pintura con un grupo de cuatro retratos infantiles, considerados de la autora de Pantoja de la Cruz, que en 1636 se hallaban en una pieza de las bvedas del Real Alczar: la seora infanta Doa Margarita, sentada sobre dos almohadas carmeses y un cascavelero en la mano. Pantoja haba fallecido cuando se pint este lienzo y por ello Allende-Salazar y Snchez Cantn sugirieron como autor a Bartolom Gonzlez, una hiptesis que se dio por buena en los catlogos del Prado y que recientemente ha sido desmentida por Luca Valera, quien encontr en el Archivo de Palacio (Cuentas particulares, leg. 5.264) una cuenta de Santiago Morn presentada en 1613 en la que se registra un pago de 770 reales por el retrato de la seora ynfanta doa margarita con muchos dixes y bavador y bestido de colonia blanco asentada sobre unas almohadas carmeses. El dato resulta de especial inters dado que sobre este retratista solo se tenan escasas referencias documentales, y ningn retrato seguro. En cualquier caso, la secuencia de pintores mencionada (Pantoja, Gonzlez y Morn) no hace sino reflejar la pervivencia de las frmulas del retrato cortesano, incluso en estas efigies ms privadas o familiares. Leticia Ruiz

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Anton van Dyck El cardenal-infante Fernando de Austria

12

ca. 1634.leosobrelienzo,107cm106cm.P1480.

Un inventario de 1636 describe este retrato impresionante del infante Fernando: Vn retrato del seor infante Don Fernando de medio cuerpo arriba, que le trujo el marqus de Legans, en el traje y forma que entr su Altea en Bruselas, en la mano derecha un bastn, casaca de terciopelo carmes, guarnecido de galn de oro, banda carmes recamada de oro y en ella vn espadn, cortina de brocado; es de mano de Van Dyck, pintor flamenco, con moldura dorada y bruida. El cardenal-infante era el hermano menor del rey Felipe IV de Espaa. A la edad de diez aos fue elevado a cardenal, segn la costumbre del Sacro Imperio Romano. En 1631, se le nombr sucesor de su ta, la infanta Isabel. Parti de Madrid en 1632 para tomar posesin del cargo de virrey de Catalua. A raz de la muerte de Isabel el 1 de diciembre de 1633, Felipe IV nombr al cardenal-infante gobernador de los Pases Bajos espaoles. A principios de otoo el ao siguiente, Fernando y su ejrcito imperial marcharon desde Italia en direccin al norte. En la localidad alemana de Nrdlingen se enfrentaron a fuerzas suecas, a las cuales derrotaron en una importante victoria entre el 5 y 6 de septiembre de 1634. Este hermoso retrato oficial del cardenal-infante Fernando celebra su entrada en Bruselas el 4 de noviembre de 1634. Un escrito contemporneo describe la llegada del cardenal-infante a Bruselas: Entr en la villa con todo el acompaamiento, vestido de lama bordada carmes, con una anguarina o casaca de lo mismo, plumas, banda roya, y vn espadn, pieza de su abuelo Carlos V cuando debel los enemigos junto al Albis, y ahora por Su Alteza los del Danubio, el cabello largo y vna Valona tendida por los hombros, uso del pas como lo peda el traje militar; de gentil presencia, rostro blanco y el bozo en sus primeros principios rubio y del origen de su casa, en veintiuno aos y seis meses de su edad. El retrato documenta un acontecimiento histrico y glorifica la dinasta de los Habsburgos. La pintura fue enviada a Felipe IV en 1636 y se exhibi en el palacio real del Alczar, cerca de un cuadro de la batalla de Nrdlingen. En la mano derecha Fernando sostiene un bastn de mando que enfatiza su rango militar. En la banda lleva insertada la espada que su bisabuelo Carlos V us en la batalla de Mhlberg en 1547. El vistoso

atuendo rojo y oro es suntuoso y solemne, y refleja la importancia del cardenal-infante y sus triunfos militares. Desde su lugar de prominencia en el Alczar, el retrato sirvi como recordatorio de la importancia de los Habsburgos y su papel en la historia de Espaa. Felipe IV y la familia real no fueron el nico pblico de este retrato, ya que se reprodujo en grabados de Pieter de Jode el Joven, Adriaen Lommelin y John Payne, con Fernando mirando siempre en la misma direccin, y se pintaron varias copias, incluida una para Carlos I de Inglaterra y otros miembros de la nobleza britnica. Para 1630, Van Dyck estaba muy solicitado como retratista. En 1633-34, a fin de servir a su ilustre clientela realeza y nobleza europeas as como cortesanos, diplomticos, clrigos y eruditos, estableci su estudio en Amberes, el centro comercial y artstico de los Pases Bajos espaoles. Siendo el retratista flamenco ms sobresaliente, Van Dyck era el candidato idneo para cualquier encargo de carcter poltico. Se le conoca por su destreza tcnica, su habilidad para plasmar el parecido fsico y su rapidez de ejecucin. Sola trabajar en varios retratos a la vez. En este caso, sus asistentes probablemente pintaron la elaborada vestimenta del infante, el fondo y el cortinaje brocado, mientras Van Dyck terminaba la magnfica cabeza y las elegantes manos. Despus de que sus asistentes completaran la figura, el maestro dara las ltimas pinceladas a toda la pintura, aadiendo los toques de luz y los opulentos detalles de oro y encaje. Su estilo caracterstico muestra la influencia de los mtodos de su mentor, Peter Paul Rubens, y el colorido y la pincelada de los pintores venecianos. Van Dyck fue uno de los primeros artistas europeos que dotaron de profundidad psicolgica y naturalidad al retrato. El cardenal-infante da la impresin de acabar de entrar en el estudio del artista. El bastn alzado sugiere movimiento y aade espontaneidad a la pose, a la vez digna y sin afectacin. El aristcrata victorioso contempla al observador con mirada sobria y gesto suave, que comunican una sutil expresin de humildad y pensamientos que solo podemos imaginar.

Lisa Lipinski

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Diego Velzquez El bufn don Diego de Acedo, el Primo

13

ca. 1636-1638.leosobrelienzo,107cm82cm.P1201.

Una de las facetas ms destacadas de la produccin de Velzquez la forma su amplia galera de bufones, enanos u hombres de placer que servan para entretener los ocios del rey de Espaa y su corte. Aunque es cierto que el sevillano no fue el nico artista que se ocup de su representacin, s es verdad que ninguno antes o despus que l se acerc al tema de una manera tan frecuente y con un tratamiento pictrico y narrativo tan poco habitual. En alrededor de una docena de sus cuadros, los bufones constituyen el motivo principal o uno de los personajes ms importantes, y la variedad de contextos narrativos y situaciones en los que aparecen es bastante amplia. En algunos casos se encuentran aislados, pero en otros se les ve en compaa de otros miembros de la corte, y con frecuencia incorporan significados que van ms all de la simple plasmacin de unos rasgos fsicos. Todo esto ha planteado incontables dilemas a aquellos que han buscado interpretaciones y, de hecho, ha dado pie a teoras tan dispares como las que quieren ver en Velzquez un artista con una conciencia social casi contempornea y las que, por el contrario, ven en estos cuadros un ejemplo de la objetividad implacable de su autor. Tambin hay lecturas narrativas para todos los gustos: algunos creen que estamos ante simples retratos, mientras que no faltan aquellos empeados en descubrir un simbolismo oculto y en negar el carcter retratstico de estas obras. Sin embargo, independientemente de la posibilidad de que estn interpretando, representando algo, lo cierto es que los rasgos de estas figuras tienen una presencia retratstica muy acusada y no hay ninguna razn para dudar de que se trata de bufones de la corte. De hecho, no fue esta la nica ocasin en que Velzquez hizo una operacin parecida, como nos lo prueban El bufn llamado don Juan de Austria (Museo del Prado) y El gegrafo (Muse des Beaux-Arts, Ruan). Diego de Acedo, el supuesto protagonista de este retrato, fue un bufn documentado al servicio del rey entre 1635 y 1660. Sus ocupaciones en palacio iban ms all del simple entretenimiento de la corte, pues trabaj en la Estampilla, u oficina a cargo del

sello con la firma real. Se conocen otros datos sobre su paso por el Alczar, como que tena un criado y que en 1643 se vio envuelto en un asunto pasional que acab en crimen. Al ao siguiente viaj con el rey a Aragn, y se sabe que Velzquez lo retrat entonces. Se desconoce el origen de su apodo el Primo, sobre el que se barajan varias hiptesis. El hecho de que se rodee de libros y objetos de escritorio o que vista un traje negro (est documentado el regalo de un vestido de esas caractersticas) llev a identificar el personaje del cuadro del Prado con este bufn en 1872, aunque los datos no son concluyentes. Algunos piensan que el retrato del Prado es el realizado en 1644 y que es el mismo que figura en los inventarios del Alczar de 1666, 1668 y 1701 como retrato de el Primo. Sin embargo, en 1701 aparece mencionado en el inventario de la Torre de la Parada un retrato con caractersticas similares a las de este, que vuelve a aparecer en 1714 en El Pardo entre los cuadros trasladados desde la Torre. Lo ms probable es que el cuadro citado en los inventarios del Alczar se haya perdido y que el del Museo del Prado fuera realizado expresamente para la Torre de la Parada, en torno a 1636 y 1638, haciendo pareja con alguna otra pintura similar, como Francisco Lezcano, el Nio de Vallecas (Museo del Prado). As lo sugieren no solo los datos que se acaban de citar sino el hecho de que el personaje se encuentre en un paisaje que tiene como fondo la Maliciosa, una de las montaas ms caractersticas de la Sierra del Guadarrama. Es el mismo escenario que aparece, por ejemplo, en El prncipe Baltasar Carlos, cazador (Museo del Prado) o El cardenalinfante don Fernando (Museo del Prado), pintados tambin por Velzquez para la Torre de la Parada, un lugar que tena como teln de fondo esa parte de la sierra. Probablemente, El Primo estara colgado prximo a una ventana tras la que asomara la Maliciosa.

Javier Ports

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Diego Velzquez (y taller) Retratos orantes de Felipe IV y Mariana de Austria

Retrato orante de Felipe IV ca.1655.leosobrelienzo,209cm147cm.P1220. Retrato orante de Mariana de Austria ca. 1655.leosobrelienzo,209cm147cm.P1222.

14 y 15

Esta pareja de lienzos entremezcla diversos aspectos de la retratstica espaola del perodo barroco. En principio, las figuras orantes de Felipe IV y su segunda esposa, Mariana de Austria, retoman la tradicin del donante que se remonta a la pintura religiosa medieval. El comitente era incorporado a la imagen sacra que encargaba, postrado en actitud reverencial; su retrato manifestaba sus devociones pero tambin una situacin econmica y social privilegiada. Sin embargo, en estos cuadros de los soberanos la presencia sobrenatural ha sido omitida. Ambos personajes aparecen individualizados, a escala natural y con un lujoso fondo de cortinajes, como en los retratos de corte. El objeto de su adoracin no figura en el espacio pictrico sino que, presumiblemente, estara situado entre ambos cuadros, dada la disposicin simtrica de las figuras. Es decir, los retratos formaban parte de una construccin escenogrfica en la que simulaban la oracin constante de los reyes ante una imagen. Esta peculiar mezcla del retrato cortesano y la ofrenda votiva se puede explicar en funcin de los usos devocionales de la casa de Austria y, sobre todo, el lugar para el que fueron pintados los retratos: el Monasterio de San Lorenzo de El Escorial. El Monasterio es la principal fundacin de la mencionada dinasta en Espaa, construido entre otras finalidades para acoger el panten familiar. A los lados del altar mayor de la baslica se dispusieron sendos grupos escultricos representando al emperador Carlos V, Felipe II y sus familiares ms directos. Las estatuas, hechas en bronce por los Leoni (Pompeo y Leone), aparecen en actitud orante, dirigidas hacia el gran tabernculo que preside el retablo. De este modo, simbolizan la perpetua adoracin eucarstica de los Habsburgos. Estos grupos representan el antecedente ms claro para los retratos orantes de Felipe IV y Mariana de Austria. Fue precisamente Felipe IV quien complet la construccin del Panten Real, inaugurado en 1654. Su vinculacin con El Escorial fue por tanto muy estrecha, e incluso se extendi a la decoracin pictrica de los principales mbitos del edificio. El soberano destin algunos de los ms importantes cuadros de la coleccin real a la sacrista y las salas de los captulos, donde se instalaron bajo la supervisin de Velzquez. En ese ambiente, es completamente lgico que se concibieran unas imgenes que dejaran constancia del fervor y la dedicacin de Felipe IV. Aunque su creacin responde al contexto artstico escurialense en la dcada de 1650, estos cuadros presentan

numerosas incgnitas. Por ejemplo, se desconoce el lugar exacto para el que fueron pintados. Tradicionalmente se identifican con los retratos de Felipe IV y Mariana de Austria que fueron inventariados en la Iglesia Vieja del Monasterio en 1701. En el esquema decorativo del lugar, ideado por Velzquez, estaran yuxtapuestos a las versiones en pintura de las esculturas de los Leoni, de mano de Juan Pantoja de la Cruz. El sentido funeral y dinstico de estos cuadros se hace an ms claro si se tiene en cuenta que, hasta que se termin el panten de El Escorial y se trasladaron a l los fretros de los Austrias espaoles, la Iglesia Vieja era su lugar de enterramiento. En los aos finales del reinado de Felipe IV los muros fueron adornados con nuevas pinturas, pero ninguna descripcin de la Iglesia Vieja en esa poca registra los cuadros que nos ocupan. Por tanto, esa localizacin puede muy bien ser posterior. Slo una fuente testifica la presencia de dos retratos orantes de Felipe IV y Mariana de Austria en el Monasterio, concretamente en la capilla de la Virgen del Patrocinio, fundada por este rey. Parece que eran dos pequeos cuadros an conservados en el Monasterio, tambin del crculo de Velzquez. Pero, nuevamente, la informacin es muy tarda, ya que fue dada a conocer por Antonio Rotondo en el siglo xix. Para entonces, la capilla original haba sido desmantelada y trasladada, y se conoce muy poco de su aspecto primitivo. No obstante, los datos disponibles y los propios retratos permiten unas mnimas conclusiones, sobre todo la evidente inspiracin en los prototipos creados por Velzquez. La efigie de Mariana se relaciona directamente con el primer retrato oficial que le hizo el pintor (Museo del Prado, p1191) y que, adems, colgaba en la zona palaciega de El Escorial. Repite el sofisticado atuendo y peinado de la reina, cuyo guardainfante queda oculto por el reclinatorio. La imagen del rey no se asocia con tanta claridad a un original del maestro, aunque el aire velazqueo es innegable. El funcionamiento del taller de Velzquez en sus aos finales resulta problemtico, aunque se conoce que trabajaron en l Juan Carreo, Francisco Rizi y, por supuesto, el yerno de Velzquez, Juan Bautista Martnez del Mazo. No obstante, no se pueden adjudicar estos cuadros de manera decidida a ninguno de ellos.

ngel Aterido

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Juan Carreo de Miranda La monstrua desnuda (Baco)

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ca.1680.leosobrelienzo,165cm108cm.P2800.

Tras la muerte de Velzquez, Carreo se revel como su ms legtimo continuador en la representacin de los monstruos, bufones y enanos que pululaban por la corte espaola. Los inventarios citan en el Alczar un abundante nmero de retratos suyos de este tipo, entre los que se encuentran los dos de la Monstrua y otros, desgraciadamente desaparecidos. Los pocos que han llegado hasta nosotros muestran, de todos modos, que Carreo se acerc a estos seres a la manera de Velzquez, buscando dignificar su imagen en la medida de lo posible. La nia representada en este lienzo se llamaba Eugenia Martnez Vallejo y haba nacido en Brcenas. En 1680 la trajeron a la corte para ser admirada como manifestacin monstruosa de la naturaleza. Tena entonces seis aos y pesaba ya cerca de setenta kilos (154 libras). Probablemente solo asistira a algunas fiestas de palacio a fin de que fuera contemplada, pues segn Jos Moreno Villa (que no encontr ninguna asignacin econmica a ella) no parece haber formado parte del servicio de la corte. En el mismo ao de su llegada, Juan Cabezas public en Madrid la Relacin verdadera en que se da noticia de un gran prodigio de la naturaleza que ha llegado a esta Corte, en una nia Giganta llamada Eugenia, natural de la villa de Barcena, en el Arzobispado de Burgos. Iba ilustrada con una xilografa y se reedit en Sevilla y Valencia. A travs de Cabezas sabemos que Carlos II mand al segundo Apeles de nuestra Espaa, el insigne Juan Carreo, su pintor y ayuda de cmara, que la retrate de dos maneras, una desnuda y otra vestida de gala. Por lo dems, la descripcin que haca Cabezas de ella no poda ser menos caritativa, mostrando hasta qu punto debi esforzarse Carreo para infundir algo de dignidad a su deforme figura: Es blanca y no muy desapacible de rostro, aunque le tiene de mucha grandeza. La cabeza, rostro, cuello y dems facciones suyas son del tamao de dos cabezas de hombre, con poca diferencia. La estatura de su cuerpo es como de mujer ordinaria, pero el grueso y buque como de dos mujeres. Su vientre es tan desmesurado que equivale al de la mayor Mujer del Mundo, cuando se halla en das de parir. Los Muslos son en tan gran manera gruesos y poblados de carnes que se confunden y hacen imperceptible a la vista su naturaleza vergonzosa. Las

piernas son poco menos que el Muslo de un hombre, tan llenas de roscas ellas y los Muslos, que caen unos sobre otros con pasmosa monstruosidad, y aunque los pies son a proporcin del Edificio de carne que sustentan, pues son casi como los de un hombre, sin embargo se mueve y anda con trabajo, por lo desmesurado de la grandeza de su cuerpo. El cual pesa cinco arrobas y veinte y una libras, cosa inaudita en edad tan poca. En 1945 Gregorio Maran hizo notar que esta nia representaba el primer caso conocido de sndrome hipercortical, sealando adems que, por la decisin con que empua la fruta en el retrato en el que aparece vestida, debi de ser zurda. Para mostrar a Eugenia desnuda, Carreo recurri a un procedimiento sumamente raro en la pintura espaola: el retrato mitolgico. Situ a la nia ante un fondo neutro, la hizo apoyarse en una mesa llena de racimos de uvas y la coron de hojas de vid y racimos, hacindola sostener con la mano izquierda otro racimo cuyas hojas le cubren el sexo. Disfrazada de Baco o Sileno, Eugenia perdi mucho de su aspecto anormal y en alguna ocasin hasta pudo ser confundida con una representacin ms de Baco nio. Es posible que los dos cuadros de Eugenia no estuviesen terminados a la muerte del pintor, que los conserv en su taller hasta el final de sus das en 1685. El desnudo, junto con su pareja en que la Monstrua aparece vestida, estuvo en las colecciones reales hasta 1827. Tras ser llevado al Alczar (inventarios de 1686 y 1694), pas al Palacio de la Zarzuela, donde aparece registrado en el inventario de 1701. En 1827 la Monstrua vestida pas al Museo del Prado, mientras que la desnuda fue regalada por Fernando VII al pintor Juan Glvez, segn cuenta Pedro de Madrazo. Glvez debi de venderla muy pronto al infante don Sebastin Gabriel, que la tena ya en 1843. A la muerte del infante pas a su primognito, el duque de Marchena, y despus fue adquirida en fecha indeterminada por don Jos Gonzlez de la Pea, barn de Forna, quien en 1939 la don al Museo del Prado, haciendo posible que ambos lienzos volvieran a reunirse. Jos lvarez Lopera

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Luis Paret y Alczar Autorretrato en el estudio

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ca. 1786.leosobrelienzo,39,8cm31,8cm.P7701.

El clebre artista madrileo, de orgenes familiares franceses y vinculaciones estticas extraespaolas, se presenta ante el espectador sentado en un silln de patas cabriol, vestido con buen gusto y suntuosidad. Luce ropajes que se aproximan a los de los majos de Madrid, pero en sentido elegante: casaca bordada, chaleco, encajes en cuello y puos, calzas, medias, faja, pauelo, redecilla en el pelo y zapatos de raso con hebillas de plata. A su lado, el tpico sombrero redondo con cordoncillo completa el efecto entre popular y refinado que el maestro busca. El marco escogido es el propio taller del autor, en donde aparecen por doquier los diferentes elementos propios de la inspiracin y la tcnica artstica, todos tratados con una admirable precisin en los detalles: bustos clsicos, paleta y pinceles, tintero y pluma, carpetas de grabados, libros y mapas, presididos por un gran lienzo ovalado, cuyo tema es un naufragio, sobre un caballete semioculto en la parte superior por fastuosos cortinajes. No se ha podido identificar hasta ahora ningn cuadro de Paret de formato oval que corresponda al que aparece en el autorretrato. Esto, junto con las dudas que haba sobre la fisonoma del pintor, hizo que se cuestionase desde un principio si se trataba realmente de un autorretrato. Sin embargo, un barco parecido al del valo, incluso con las mismas enseas, aparece en el retrato de un oficial de Marina realizado por Paret. El motivo

del barco podra estar relacionado con el naufragio del navo San Pedro de Alcntara, que se hundi el 3 de febrero de 1786 frente a la costa de Portugal, en Peniche, y del que Paret pudo tener noticia. Es posible que Paret pintara o bosquejara un lienzo representando el naufragio, quizs por encargo. Este autorretrato, presentado en un entorno que pretende fijar un ambiente cultural, podra evidenciar el deseo del pintor de ser visto como un digno profesional del arte con rango de humanista, a modo de manifiesto acerca de los principios que rigen la creacin, incluida la necesidad fundamental de poseer una slida formacin de ah la referencias a los sabios del pasado, al estudio y al anlisis geogrfico. Todo esto implica necesariamente para el autor un puesto distinguido en la sociedad, lo que quedara indicado en la magnificencia de su indumentaria, propia de clases privilegiadas. Aparentemente, Paret tambin intent expresar esta superioridad social en el retrato de su esposa, Mara de las Nieves Michaela Fourdinier, perteneciente al Museo del Prado (p3250), en el cual aparece la dama vestida lujosamente, con toda probabilidad por encima de sus posibilidades econmicas.

Juan J. Luna

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Francisco de Goya Tadea Arias de Enrquez

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ca. 1789.leosobrelienzo,190cm106cm.P740.

El retrato muestra a la dama de cuerpo entero, elegantemente ataviada a la moda de la poca con un vestido de gasa transparente con encajes. Goya capta a la perfeccin el efecto translcido de la tela, que deja adivinar la falda rosa que la retratada lleva por debajo. A la cintura se cie una amplia banda de gasa negra con un lazo por detrs, de transparencia tambin exquisita; la banda lleva prendido un distinguido broche de camafeo por la parte delantera. El peinado, con rizos abundantes y mechones que caen sobre los hombros, refleja la moda francesa del momento, y el atuendo queda completado por los chapines puntiagudos, con delicados adornos de plata, y los guantes de piel de cabritilla, cuya textura suave y blanda Goya ha sabido plasmar con gran maestra. Goya presenta a su modelo como si el espectador la hubiera sorprendido en medio del gesto de remangarse el guante de la mano derecha, un detalle que aporta al cuadro un aire relajado e informal y nos acerca al mundo de la retratada. Estas eran cualidades por las que Goya era muy apreciado como retratista, y que l haba aprendido de sus contemporneos britnicos cuya obra pudo conocer por medio de estampas. Tambin de raigambre britnica es la idea de representar a la retratada en un jardn, que forma el teln de fondo del cuadro: detrs de ella se ve un gran jarrn de mrmol, y ms all se entrev la fresca frondosidad gris verdosa de las plantas y los rboles. El marco natural en el que aparece la dama, unido a su actitud, contribuye a que su belleza sea percibida como algo fresco y espontneo, no artificioso (aunque, de forma algo paradjica, es claro que tanto el atuendo as como la presentacin obedecen a convenciones sociales y pictricas). Goya haba pintado en 1786 el esplndido retrato de la marquesa de Pontejos (Washington, National Gallery of Art),

de caractersticas similares, de evidente originalidad y tcnica brillante, revelador de un profundo estudio psicolgico de la joven. Todo esto, unido al colorido de tonalidades verdosas grisceas, algo fras, as como lo inexpresivo del rostro y el cuidado minucioso en detalles como los bordados del vestido o el escudo de armas, hace pensar en las conexiones del reatro de Tadea Arias con otro de los retratistas favoritos de la casa de Osuna y amigo de Goya, Agustn Esteve (1753-ca. 1820), con cuya tcnica pictrica hay aqu indudables semejanzas. La dama del retrato fue identificada gracias al escudo de armas tan detallado que hay en el ngulo inferior izquierdo. Se trata de Tadea Arias, nacida en Castromocho, Palencia, en 1770. Tadea se cas con un capitn retirado del Regimiento de Amrica, don Toms de Len, y al enviudar volvi a casarse, en 1793, con Pedro Antonio Enrquez y Bravo, capitn de la Compaa de Infantera de la Costa y regidor perpetuo de Vlez-Mlaga, donde residi la pareja. Tadea volvera a enviudar y contraera con Fernando Villanueva y Pardos su tercer matrimonio. Al aparecer el escudo de los Arias unido al de los Len, lo ms probable es que el retrato fuera realizado en tiempos del primer matrimonio, quiz en ocasin del mismo en 1789. El primer marido haba pertenecido a uno de los regimientos del duque de Osuna y su hermano era administrador de los bienes de la familia de la duquesa en Jabalquinto. Pedro de Alcntara Tellez Girn y Beaufort Spontin (1810-1844), dcimo duque de Osuna y uno de los hombres con ms ttulos nobiliarios y rentas de su poca, fue uno de los clientes ms importantes de Goya; tal vez de ah parte la relacin de Tadea Arias, de mediano abolengo, con el artista. Manuela B. Mena Marqus

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Francisco de Goya Fernando VII en un campamento

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post.1815.leosobrelienzo,207cm140cm.P724.

Son varios los retratos del rey Fernando VII atribuidos a Goya, aunque solo unos pocos tienen la calidad suficiente para poder considerarse por completo de su mano. Por otra parte, no se tiene documentacin precisa de los retratos de un monarca que prefiri a Vicente Lpez como retratista oficial, desdeando pronto a Goya. Sin embargo, s est perfectamente documentado que el artista realiz, como primer pintor de cmara, un retrato ecuestre que fue uno de los primeros del nuevo rey, solicitado en 1808 por la Real Academia de San Fernando, institucin que an lo conserva. Quiz, como haba hecho antes para los retratos oficiales de Carlos IV y Mara Luisa de Parma, Goya hizo un estudio del natural del nuevo monarca que le servira para sacar, l y sus colaboradores, los numerosos retratos solicitados por instituciones oficiales y particulares. Entre los retratos que pint Goya del nuevo rey, sin duda el de mayor calidad es Fernando VII con manto real, conservado en el Museo del Prado (p735). Precisamente es de esa obra (pintada despus de la Guerra de la Independencia tras el regreso del rey a Espaa) que est calcada la cabeza del cuadro Fernando VII en un campamento, el cual tambin repite la actitud de la figura e incluso la posicin de las piernas, aunque aqu el rey viste de capitn general, con tres galones dorados en las bocamangas y fajn adornado con los mismos tres galones. Adems, el rey luce sobre el pecho el Toisn de Oro y la banda y cruz de la Orden de Carlos III. No se sabe la fecha precisa en que fue encargado el retrato para la Escuela de Ingenieros de Caminos de Madrid, desde donde ingres en el Museo de la Trinidad. El encargo se hizo a

travs de Francisco Javier de Maritegui, arquitecto mayor del Ayuntamiento de Madrid y capitn del Cuerpo de Ingenieros, quien sera ms adelante suegro de Mariano Goya, nieto del artista. Sin embargo, Pedro de Madrazo aseguraba en el catlogo de 1876 del Museo del Prado, donde el cuadro figur por primera vez, que era propiedad de Maritegui. La Escuela de Ingenieros de Caminos fue fundada en 1802 por Carlos IV con sede en El Retiro y ms tarde se traslad a la Aduana Vieja, en la Plaza de la Lea (hasta 1847). Su vida en los primeros aos fue bastante agitada, ya que dej de funcionar durante la Guerra de la Independencia y se cerr en 1814, volviendo a funcionar entre 1820 y 1823. Sera importante conocer el destino exacto de Fernando VII en un campamento para explicar la escena representada. Dado que sigue en lneas generales la composicin del retrato en que el rey lleva el manto real, obra de hacia 1815, tiene que ser de fecha posterior. En esos aos no hubo acciones militares que justificaran la representacin del rey en un campamento, pero el carcter militar de los ingenieros de caminos, que abran calzadas, revisaban fortificaciones y levantaban mapas, podra coincidir con la iconografa del fondo del cuadro, con los ingenieros dedicados a su trabajo. Maritegui trabaj como capitn de ingenieros para el gobierno de Fernando VII entre 1815 y 1826, y es probable que el cuadro haya sido encargado en los primeros aos de sus funciones.

Manuela B. Mena Marqus

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La poesa de lo cotidiano Bodegones

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Juan van der Hamen y Len Cesta y caja con dulces

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1627.leosobrelienzo.84cm105cm.P7743.

Aunque el bodegn se consideraba inferior a la pintura de tema religioso o histrico e incluso al retrato, fue un gnero muy popular a comienzos de la Edad Moderna en Espaa. Siguiendo modelos anteriores, Van der Hamen desarroll un tipo de bodegn distintivamente espaol, caracterizado por su austeridad y la inclusin de unos pocos alimentos cotidianos, presentados en estricta simetra. Este tipo de composicin fue imitada posteriormente por muchos otros artistas, al ser van der Hamen el bodegonista ms importante y exitoso de Madrid durante el primer tercio del siglo xvii. A diferencia de las pinturas religiosas, cuyo fin principal era transmitir un mensaje especfico y afectar al espectador de una manera concreta, los bodegones eran apreciados ms que nada por su carcter decorativo. En consecuencia, solan colocarse en los comedores y a veces en lugares menos prominentes, como los espacios encima de las puertas. Algunos bodegones, como ste, tambin dan testimonio de las costumbres de la poca: a los espaoles del siglo xvii les gustaba recibir visitas en sus casas, y a menudo ofrecan a sus huspedes conservas varias, repostera y productos de lujo como aguas aromticas y chocolate trado de las Indias. Van der Hamen escogi aqu varios objetos en funcin de la correspondencia entre sus formas y tamaos y del contraste de texturas y colores, y los acomod en un espacio rectangular que sugiere el vano de una ventana o una fresquera, un hueco en la pared de piedra de la despensa que se usaba para mantener frescos algunos alimentos. La rgida geometra del espacio queda suavizada por algunas muescas e imperfecciones en la piedra, que tambin aaden verosimilitud a la composicin. Una iluminacin fuerte, procedente de dos focos distintos, crea un marcado contraste de luces y sombras. Como es tpico en las pinturas de Van der Hamen, los elementos estn colocados

en disposicin arquitectnica: el ms grande y alto al centro, flanqueado a ambos lados por los ms pequeos. Las dos cajas, hechas de madera liviana, son del tipo que posiblemente se usara para guardar conservas de frutas como el membrillo. La textura translcida de las frutas (naranjas, limones, ciruelas, higos) y las zanahorias confitadas es un logro magistral y el toque chispeante que da el pintor a los reflejos del glaseado es uno de sus rasgos ms caractersticos. En la cesta tambin hay bizcochos y bollos, pastas (galletas) y rosquillas. Dulces como estos hacen patente la influencia morisca en la cultura espaola; confecciones muy similares aparecen en los recetarios medievales rabes y an hoy pueden encontrarse en el norte de frica. Los barriletes como el que aparece a la derecha solan usarse para guardar arrope, una especie de jalea de uva, y los tarros de vidrio tapados con papel atado con cuerda parecen contener guindas en almbar o en licor. La manera en que Van der Hamen sugiere las diversas texturas, tales como la lisura del vidrio o la capa quebradiza de glaseado sobre las frutas, es una de las cualidades que lo hicieron famoso. Los bodegones se realizaban con frecuencia en pares o en series ms extensas. El presente fue concebido como parte de un par y su compaero se encuentra en la coleccin del Banco de Espaa. Adems de tener las mismas dimensiones, el esquema general de la composicin y el peso de los diferentes volmenes son idnticos en ambos lienzos; incluso algunos elementos fueron dispuestos para que rimaran entre s, como las zanahorias confitadas que en un cuadro apuntan hacia el interior y en el otro hacia el exterior. Esta es una las pinturas ms logradas de Van der Hamen y represent un hito en el desarrollo de la pintura de bodegones en Madrid. Pablo Prez dOrs

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Toms Hiepes (o Yepes) Dulces y frutos secos sobre una mesa

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s.f.leosobrelienzo,66cm95cm.P7914.

La composicin de este bodegn sigue un esquema estrictamente geomtrico, a la manera de Juan van der Hamen. Dos cestos y dos platos metlicos flanquean una botella oscura que se alza en medio, marcando la lnea del eje de simetra principal en torno al cual se ordena la composicin. Uno de los cestos contiene una montaa de avellanas y castaas de piel lisa y reluciente, ambos frutos asociados con los meses otoales, mientras que el de la derecha est lleno de retorcidos barquillos, similarmente amontonados. Delante, en el plato de plata o latn de la izquierda, se aprecian fragmentos de turrn de dos clases distintas (uno con avellanas enteras y otro del tipo llamado de Alicante, con almendras tostadas y molidas) y sobre ellos una gran rosquilla. A la derecha, otro plato metlico exhibe media docena de tortas, la superior troceada. Completan el apetitoso conjunto tres dulces (panes, o quizs pastelillos de masa con algn tipo de relleno), uno de ellos con la superficie bien azucarada, dispuestos entre los dos platos. La superficie sobre la que se levanta este esplndido ofrecimiento, propio de postres o meriendas, resulta extraordinariamente sencilla en contraste con el complejo agrupamiento: un simple tablero pintado con un tono rojizo y del que se aprecian los cuatro bordes, vigorosamente destacado contra un fondo oscuro, que otorga a todos los protagonistas de la pieza un marcado relieve y as los aproxima an ms al sorprendido espectador que hipotticamente contempla el cuadro valorando su excepcional sentido de la realidad. El rico y diversificado cromatismo y la iluminacin, que contribuye a provocar efectos de claroscuro, denotan la maestra

del artista a la hora de diferenciar las calidades tctiles de los comestibles, que resultan bien identificados en toda la sugestiva dimensin de sus caractersticas, dando atractivo testimonio del panorama de dulces en las tradiciones espaolas. Indica Javier Ports que la aparicin del escudo de Valencia en uno de los barquillos y el turrn que se observa en el ngulo inferior izquierdo del lienzo propone un origen levantino para esta obra, cuyo estilo y composicin son caractersticos de la etapa temprana de la produccin de Hiepes. Tanto la forma como el trenzado de las cestas, as como el papel que juega la botella oscura en la composicin, recuerdan otro cuadro del autor Bodegn de cocina (Prado, p3203) de similares pormenores. Van der Hamen fue el primero en popularizar en la corte madrilea los bodegones con dulces, cuya gran aceptacin nos permite deducir el inters por parte de la clientela en poseer pinturas con tales productos. El hecho de que Hiepes realizara obras del mismo carcter podra ser indicio de que conoca la produccin de Van der Hamen, cuyas frmulas habra querido emular pensando en su xito comercial, o tambin podra responder al inters de los clientes valencianos de Hiepes en poseer objetos que se haban vuelto tan deseables en la corte. No obstante, tambin se podra ver en tan especial dedicacin un nexo con la historia personal del pintor, que debi de estar bastante vinculado a esta rama de la gastronoma, puesto que su hermana Vicenta era propietaria de una confitera en Valencia, ciudad tradicionalmente consumidora de todo tipo de dulces. Juan J. Luna

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Mateo Cerezo Bodegn de cocina

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ca. 1665.leosobrelienzo,100cm127cm.P3159.

Sobre una superficie de cocina se encuentra desplegada una profusin de utensilios y carnes variadas aves recin cazadas todava sin desplumar, un cordero recin carneado, una cabeza de ternera y otras piezas, como si el pintor los hubiera encontrado as en el lugar, a mitad de preparacin para una comida. La aparente informalidad desordenada de la composicin proporciona a la imagen un aire de inmediatez y naturalidad, pero es en realidad fruto de cuidadosa reflexin por parte de Cerezo. Por ejemplo, la impresin de alegre caos se consigue gracias a la asimetra de la pintura y a la presencia de numerosas lneas diagonales la pata del cordero, el cuchillo, la cuchara de madera, y, al fondo, el mango negro de una sartn de hierro. Los elementos parecen estar dispuestos al azar, pero cada uno est cuidadosamente colocado, de tal forma que si se desplazara cualquiera de ellos se destruira el balance general de la composicin. Aunque no sobresalen en la pintura, los pequeos plintos sobre los cuales descansan la botella de aceite y la cabeza de ternera seran un elemento arquitectnico poco comn en una cocina; aqu tenemos probablemente, ms que un detalle observado en la vida real, un truco utilizado por el pintor para expandir la composicin en sentido vertical: al crear nuevos niveles resulta posible aadir ms objetos, algo que resultara imposible si todos estuvieran encima de la misma superficie. Las verduras y otros alimentos que figuran en los bodegones espaoles de este perodo a veces se empleaban para representar un mes o una estacin determinados, con frecuencia como parte de una serie de cuatro o doce pinturas que ilustraban el ciclo anual. A esta pintura en particular no se le conocen piezas acompaantes, pero s que contiene elementos que permiten relacionarlo con una poca del ao en concreto: por lo general,

los corderos se dejaban crecer y engordar durante el verano y se mataban en el otoo, ms o menos la misma poca en que habra sido posible cazar la becada que aparece junto a las hogazas de pan. La comida que se est preparando podra ser un sustancioso guiso, con diferentes tipos de carne hecha al fuego con las cebollas y los pimientos secos que se ven hacia el centro del cuadro, y sazonado tambin con las especias contenidas en el pedacito de papel que aparece en primer plano. El tocino, que aparece a la derecha de la cabeza de ternera, se usaba para aadir sabor y grasa al plato. Este tipo de receta culinaria sigue encontrndose en algunas regiones de Espaa, como lo son tambin algunos de los tiles de cocina hechos de cobre que se muestran en el cuadro: la sartn ancha y poco profunda, con asas en forma de anilla, recuerda mucho a una paellera. Los clidos tonos tierra del cuadro y la manera en que Cerezo aplica la pintura revelan su admiracin por los pintores de la escuela veneciana, especialmente Tiziano. En Espaa haban sido populares las pinturas venecianas de temas cotidianos desde fines del siglo xvi, cuando se importaba y se imitaba la obra de los Bassano. A la llegada de Cerezo a Madrid, estaba all muy de moda un estilo neoveneciano cuyo exponente principal era Juan Carreo de Miranda. De manera ms especfica, puede notarse la influencia de Antonio Pereda (1611-1678) en detalles tales como el fuerte claroscuro y el pronunciado empaste de los bodegones de Cerezo; de hecho, las conexiones entre ambos artistas son tan estrechas que han dado lugar a confusiones, y el presente Bodegn de cocina que hoy en da se considera obra de Cerezo ha sido en ocasiones atribuido a Pereda en el pasado. Pablo Prez dOrs

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Luis Egidio Melndez Bodegn: sandas, pan, roscas y copa

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1770.leosobrelienzo,35cm48cm.P915.

Luis Melndez se distingui como el bodegonista espaol ms importante de fines del siglo xviii. Para ese entonces, la popularidad del gnero haba declinado en Espaa y no lo cultivaba ninguno de los contemporneos de Melndez en la corte. Aun as, Melndez pint ms de cien bodegones durante su vida, por lo cual concluyen los historiadores de arte que tena un inters personal en este tema. En realidad, no logr obtener patrocinio real para retratos y pinturas de asunto histrico, de modo que vio en los bodegones un gnero alterno que poda desarrollar para el mercado general. Felizmente y como sin duda habra de descubrir el pintor a lo largo de su abundante produccin los bodegones, a pesar de su modesto lugar en la jerarqua de gneros pictricos, exigan una gran disciplina artstica, lo cual era compatible con las metas estticas de Melndez, y tambin le ofrecan la oportunidad de plasmar meditaciones serias sobre la relacin entre la percepcin visual y el cuerpo humano. Entre 1759 y 1774, Melndez pint 44 bodegones para Carlos, prncipe de Asturias (futuro Carlos IV), muchos de los cuales se encuentran hoy en el Museo Nacional del Prado. Bodegn: sandas, pan, roscas y copa form parte de la coleccin real del Palacio de Aranjuez y fue un regalo del artista a Carlos y su esposa Mara Luisa de Parma. En 1771, Melndez recibi el encargo de continuar su serie de bodegones sobre la historia natural de Espaa para el Gabinete de Historia Natural del prncipe. Bodegn: sandas, pan, roscas y copa manifiesta los rasgos caractersticos del acercamiento de Melndez al gnero. En l vemos unos pocos objetos colocados sobre una vieja mesa de madera cuyo borde corre paralelo al plano del cuadro. La suculenta sanda que deja caer sus gotas de jugo es el punto focal de la composicin. Como en la mayora de los bodegones de Melndez, aqu los objetos estn pintados en un espacio interior. La luz cae desde la izquierda, iluminando la sanda recin cortada, rodeada de cuatro acerolas, tres roscas, una hogaza y una copa de vino. El fondo negro provee un fuerte contraste con las roscas y el pan, intensificando su color y su materialidad. Con una seleccin relativamente limitada de objetos, Melndez logr crear una variedad infinita de obras originales.

Bodegn: sandas, pan, roscas y copa es una de solo tres pinturas en que incluy pedazos de sanda como punto focal; sin embargo, un tipo similar de pao aparece en sus cestas con relativa frecuencia, aunque rara vez como lo presenta aqu, debajo de la sanda. Las peculiares roscas cnicas aparecen en primer plano en Bodegn con roscas, jarra y recipientes, que puede haberse inspirado en esta obra. El plato de cermica de Talavera, con su tpico borde festoneado (llamado popularmente plato de castauela), se encuentra en varios otros lienzos del artista. El esta obra Melndez sigue la tradicin del bodegn de principios del siglo xvii, con una representacin objetiva de las frutas, el pan y la copa de vino valindose del claroscuro (balance de luz y sombra) para crear una imagen naturalista. Excepto en unos pocos toques de luz, la pincelada es casi invisible. Cada objeto est cuidadosamente delineado con lneas de contorno definidas. Melndez se esmeraba en sus composiciones, cambiando a veces los objetos o sus posiciones para lograr armona y balance. Esta pintura inclua originalmente castaas y una botella de vino. El punto de vista bajo y la escala de los objetos dentro del encuadre dan la sensacin de que los objetos pintados estn al alcance no solo de nuestros ojos sino tambin de nuestras manos. Los pliegues del pao se proyectan hacia nuestro espacio, un recurso comn de los bodegones. Casi oculto en la sombra de la sanda hay un cuchillo, cuya hoja es apenas visible. La sanda parece recin cortada, al punto de que conserva an su vitalidad cromtica. Sobre el pao vemos, junto a la solitaria semilla, una gota de jugo. Melndez utiliza toda su destreza tcnica para convencer al observador de que estos deliciosos alimentos estn a su alcance. Al mirar el objeto en la pintura, imaginamos cmo lo sentiramos en la mano, o incluso en la boca. A travs de la visin, podemos imaginarnos saboreando la pulpa dulce y suculenta de la sanda o quiz bebiendo un sorbo del vino.

Lisa Lipinski

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Luis Paret y Alczar Ramillete de flores

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ca.1780.leosobrelienzo,39cm37cm.P1042.

Esta obra fue adquirida por Carlos IV para su propiedad personal, pasando despus a las colecciones reales. Su factura y su composicin la aproximan a las obras del pintor francs MichelNicolas Micheux (1688-1733), dentro de una esttica rococ elegantemente decorativa, prxima ya a ser desplazada por el triunfante Neoclasicismo que acab sobreponindose a todas las formas del Barroco. Su formulacin agradable, ligera y de bellos efectos decorativos evoca mucho ms las pinturas de flores francesas durante el reinado de Luis XV (1715-1774) que la escuela espaola del momento en que posiblemente se cre, durante la ltima dcada del reinado de Carlos III (1759-1788). Con todo, se trata de una obra bien planteada y hbilmente elaborada. La excelente calidad pictrica y el indudable efectismo logrados en sus reducidas dimensiones evidencian las dotes de observacin del pintor. La forma ligeramente ovalada interior otorga a esta pieza y a su compaera (Prado, p1043) un carcter singular, realzado por la mezcla floral: rosas, tulipanes, lirios y claveles, entre otras flores, atadas por cintas de brillantes tonalidades azuladas. En una exquisita combinacin cromtica, se armoniza una gama fra con violceos y rosados, lo que unido a los toques de pincel produce el efecto de reflejos, delicadas irisaciones y finas transparencias sobre los ptalos. Son notables la seguridad del dibujo, firme

y preciso, y el compendio de menudos detalles trabajados con maestra. Todo esto induce a pensar que la pintura es producto de una fase madura de la produccin del autor, tal vez el perodo en que alcanza sus primeros xitos en Bilbao, en torno a 1780, o un poco despus, cuando recibe el encargo de pintar los puertos del Cantbrico, sin que por el momento pueda precisarse una datacin concluyente. Este tipo de creacin floral es propio de una poca que no se interesa tanto como el anterior Siglo de Oro en reflejar el componente efmero de las cosas, nutrido de una considerable carga simblica; por el contrario, evidencia el gusto por los aspectos decorativos. No en vano muchos de estos motivos florales servan de inspiracin para los apliques de esmalte o porcelana que se insertaban en muebles finos de la poca. Lejos de la espectacularidad de que hacan gala muchos de sus coetneos extranjeros, amigos de fastuosos agrupamientos, Paret prefiere un estilo finamente detallado, tratado con sencillez y gracia. La obra denota, adems, una tendencia a precisar las calidades de los elementos y el gusto por los suaves contrastes de luz y sombra con el fin de reforzar los volmenes y crear un ambiente atmosfrico en aras de la verosimilitud.

Juan J. Luna

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Alonso Cano Granada, 1601-1667 El caso de Alonso Cano es nico entre los artistas espaoles del siglo xvii porque fue ante todo dibujante y diseador, y fue igualmente exitoso como arquitecto, escultor y pintor. Probablemente tuvo su primera experiencia con las artes en su propio hogar, ya que su padre diseaba y tallaba retablos y silleras de coros. La familia se mud a Sevilla, y cuando Alonso tena quince aos fue admitido al taller de Francisco Pacheco, donde coincidi con Velzquez por varios meses. Desde temprano mostr fascinacin por la belleza de la forma humana y facilidad para el escorzo y la representacin del movimiento. En 1638 fue a la corte por invitacin del condeduque de Olivares, el poderoso primer ministro de Felipe IV, quien se complaca en favorecer a los artistas provenientes de su natal Sevilla. Una vez en Madrid, Cano colabor en la decoracin del Palacio del Buen Retiro y el Alczar. Su produccin artstica en esta ciudad manifiesta su estudio de las colecciones reales y tambin su familiaridad con la obra de los pintores de corte. Cano tuvo que abandonar Madrid en 1644 a raz del asesinato de su esposa fue acusado del crimen, pero logr probar su inocencia a pesar de haber sufrido tortura y se mud a Valencia, donde permaneci varios meses. De vuelta en Madrid, trabaj en las decoraciones para las fiestas en torno a la boda de Felipe IV con Mariana de Austria. Durante estos aos, el arte de Cano evolucion de las composiciones monumentales, ms pesadas, que haba aprendido en Sevilla hacia formas ms elegantes, dinmicas y barrocas, y tambin empez a favorecer colores ms transparentes y tonos ms claros. La vida del artista dio otro giro en 1651, cuando regres a su Granada natal con la idea de ordenarse sacerdote y obtener un puesto de cannigo en la catedral. En espera del puesto (que obtuvo en 1652), trabaj en numerosos proyectos para la catedral, as como para otras iglesias, monasterios y conventos de la ciudad, especialmente los pertenecientes tanto a la rama masculina como la femenina de la orden franciscana. En 1660, luego de una estancia en Madrid y en Salamanca durante la cual recibi los hbitos de sacerdote, se reintegr a la catedral de Granada como cannigo y termin su serie sobre la vida de la Virgen para esa iglesia. Pocos meses antes de su muerte recibi el ttulo de maestro mayor de la catedral y dise su fachada, que se construy pstumamente. Pablo Prez dOrs

su condicin de fresquista, una especialidad nada frecuente entre los pintores espaoles y que, en el caso de Carreo y de su compaero Francisco Rizi, se explica por el contacto de ambos con los italianos Angelo Colonna y Agostino Mitelli. En 1669 Carreo alcanz el nombramiento de pintor del rey y trabaj sobre todo como retratista de Carlos II y la regente, Mariana de Austria. En ese empeo desarroll una carrera brillante y original, continuando las frmulas cortesanas del retrato de corte y especialmente las de la produccin de Velzquez, pero con sutiles aportaciones tanto desde el punto de vista iconogrfico como artstico. En este ltimo aspecto conviene recordar que Carreo fue un pintor profundamente influido por la tcnica veneciana y las composiciones flamencas. Emple una paleta cromtica clida y rica en matices, aplicada con suntuosidad, soltura y ligereza. Adems, el refinamiento y la distincin con que construy algunos de sus retratos delatan una conexin con la produccin de Rubens y, sobre todo, de Van Dyck. En este sentido, el ejemplo ms brillante es el de El duque de Pastrana (Museo del Prado, P650). Leticia Ruiz

Domenicos Theotocopoulos, conocido como el Greco Canda (hoy Heraclin), Creta, 1541 Toledo, 1614 Aunque naci en la isla de Creta, el Greco pas la mayor parte de sus aos productivos en Espaa y, entre los pintores activos durante el reinado de Felipe II, fue el de ms variado trasfondo artstico y el que ha recibido mayor atencin por parte de los historiadores del arte. Su largo y complejo perodo formativo comenz en su ciudad natal, donde se educ como pintor de iconos en la tradicin posbizantina local, y continu con una estancia en Italia durante la cual se familiariz con el color veneciano y el dibujo romano. En 1576 lleg a Espaa. A modo de presentacin en su nueva patria, ejecut un importante proyecto consistente en varios retablos para la iglesia de Santo Domingo el Antiguo, en Toledo. Su meta era lograr encargos de los dos mecenas ms importantes de su poca: el rey Felipe II, quien estaba en vas de decorar el monasterio que haba fundado en El Escorial, y el cabildo de la catedral de Toledo, que era la sede primada de la Iglesia catlica en Espaa. Aunque las dos obras con que trat de obtener el favor de la Corona y de la Iglesia el Martirio de san Mauricio (en El Escorial) y El expolio (en la catedral de Toledo) ahora se consideran hitos en el desarrollo de las artes en Espaa, en aquel momento el Greco no consigui el apadrinamiento deseado. Se ocup entonces en proyectos para iglesias, monasterios y conventos en Toledo y sus alrededores. La originalidad del Greco, sus tpicas figuras nerviosas y alargadas, su sentido nico del color y el sentimiento y expresividad con que imagina las escenas religiosas hacen que su obra sea inconfundible. El Greco fue importante tambin en el arte del retrato, gnero que en sus tiempos se cultivaba poco en Espaa fuera de la corte. La pincelada fuerte y suelta y la calidad expresiva de sus retratos hacen que los retratos de corte de ese perodo parezcan rgidos y faltos de vida. Pablo Prez dOrs

sus lbumes de dibujos y las series de aguafuertes, entre estas los Caprichos (1799), la Tauromaquia (1814), los Desastres de la guerra (1808-1814) y los Disparates (ca. 1819-1821), as como obras de reducidas dimensiones (los cuadros de gabinete) con ideas nuevas e independientes. La Guerra de la Independencia (1808-1814) y la llegada de Fernando VII, con la consiguiente represin poltica, fueron perodos determinantes de su vida que afectaron su obra artstica, marcada por sus ideas personales, avanzadas y liberales. En 1824 decidi establecerse en Burdeos, tal vez por motivos polticos que no estn an totalmente aclarados, o de carcter familiar. Muri en esa ciudad el 16 de abril de 1828. Manuela B. Mena Marqus

Toms Hiepes (o Yepes) ?, 1595 Valencia, 1674 En 1616 Hiepes era miembro del Colegio de Pintores de Valencia y existen noticias documentales de que en 1632 ya realizaba bodegones, aunque el primero que se conoce data de 1642. Fue uno de los pintores de ms ingenio de su momento, con un estilo que delata el estudio de artistas como Juan van der Hamen y Alejandro de Loarte, pudiendo haber tenido contacto en su madurez con el mundo napolitano de los Recco. Sus bodegones de cocina, as como sus cestos de flores y frutas, fueron estimadsimos en Valencia y su entorno geogrfico prximo. El bigrafo dieciochesco Marco Antonio Orellana lo elogi especialmente, subrayando cmo en su tiempo era el nico nombre conocido en el gnero, hasta el extremo de que no se ven canastos con fruta, flores, etc., vizcochos, empanadas, quesos, tortas, cubiletes, muebles o ahinas de repostera y otras cosas semejantes, bien executadas, conforme al natural, que luego no se crea y estime por cosa de Yepes. Sus bodegones y fruteros son de un admirable naturalismo, servido con una tcnica precisa y densa que valora ajustadamente las distintas calidades de las cosas. Se vale de una gama de colores clidos, con predominio de tostados y rojizos, de tono muy valenciano, semejante a veces a la de Juan de Espinosa en sus lienzos religiosos. Junto a estas obras de relativa complejidad se conservan tambin las de algunas flores de carcter ms simple, concebidas sin duda con una intencin puramente decorativa y pintadas con una tcnica ms sumaria, disponiendo los componentes de un modo casi arcaico, en un solo plano y con una presentacin muy simtrica, no desprovista sin embargo de cierto encanto. Es justo reconocer que sus creaciones de jarrones con flores o de frutas estn realizadas con una precisin meticulosa, de estima por los detalles descriptivos, hecho que constata el ya citado gusto naturalista, aunque en contradiccin con la bsqueda de la ilusin tridimensional. El autor tambin firmaba como Yepes, por lo cual existen vacilaciones a la hora de indicar su apellido en las catalogaciones de sus obras. Juan J. Luna

Mateo Cerezo Burgos, 1637 Madrid, 1666 Aunque muri a la temprana edad de veintinueve aos, y por tanto antes de haber madurado plenamente como artista, Mateo Cerezo fue uno de los pintores ms talentosos de la segunda mitad del siglo xvii. Debe haber aprendido el arte de la pintura con su padre, en Burgos, y hacia 1655 se mud a Madrid para estudiar con Juan Carreo de Miranda. Carreo fue uno de los pintores ms importantes de su generacin, y aunque su obra refleja el opulento estilo barroco tpico de la poca, la suya fue una sensibilidad ms clsica y elegante, ms cercana a Tiziano y a Van Dyck que a Rubens. Cerezo absorbi las enseanzas de su maestro y pronto empez a desarrollar su propia paleta tonal rica, clida y sensual, aplicada con pinceladas ligeras y delicadas. Algunos de sus lienzos de mayor escala muestran su dominio de ambiciosas composiciones de carcter religioso, en las que varias figuras interactan con gracia en medio de elementos arquitectnicos perfectamente dibujados en perspectiva y que a menudo incluyen suntuosos cortinajes barrocos y encantadores detalles de bodegones tales como flores y cestas con frutas. Sus pinturas ms sencillas, retratos individuales de santos, revelan las races venecianas de su arte, como lo hacen tambin sus numerosas versiones de la Inmaculada Concepcin, pintadas en tonos clidos y con una sutil impresin de movimiento. Aunque fue principalmente pintor de escenas religiosas, tambin fue bodegonista, y en este aspecto de su carrera imit los suntuosos lienzos flamencos que estaban tan en boga en aquel momento entre los coleccionistas aristocrticos de Madrid. Pablo Prez dOrs

Francisco de Goya y Lucientes Fuendetodos, Zaragoza, 1746 Burdeos, 1828 Pintor, dibujante y grabador, Goya es uno de los artistas ms singulares de la cultura europea y uno de los mximos representantes de la pintura espaola. Aunque su padre era dorador, no estudi ese oficio sino pintura en el taller de Jos Luzn, y posteriormente afirm haber sido tambin discpulo de Francisco Bayeu, con cuya hermana Josefa se cas. Desde su puesto de pintor de cmara cercano a Anton Rafael Mengs (primer pintor de Carlos III), Bayeu influy decisivamente en la futura carrera cortesana del joven. Goya fue nombrado pintor del rey en 1786, pintor de cmara en 1789 y primer pintor de cmara en 1799. Adems, fue profesor de pintura en la Academia de San Fernando y prestigioso retratista de la aristocracia, a lo que se aade su faceta de pintor de composiciones religiosas para la Iglesia y para la devocin privada. En 1793 enferm de gravedad y qued sordo. Desde entonces combin los encargos oficiales con una actividad ms privada e ntima, como fueron
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Juan Carreo de Miranda Avils, Asturias, 1614 Madrid, 1685 De nobles orgenes asturianos, este pintor fundamental del pleno Barroco cortesano se form en Madrid, en los talleres de Pedro de Cuevas y Bartolom Romn. Su trayectoria como pintor de temas religiosos comenz hacia mediados del siglo xvii. Realiz obras en buen nmero de iglesias y conventos madrileos. En muchos de estos lugares se pone de manifiesto
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Luis Egidio Melndez Npoles, 1716 Madrid, 1780 Luis Egidio Melndez aprendi de su padre, el pintor espaol Francisco Antonio Melndez, el arte de la miniatura y despus trabaj como asistente de Louis-Michel van Loo, pintor de corte de Felipe V de Espaa. Melndez fue uno de los primeros alumnos admitidos a la nueva Academia de Bellas Artes de San Fernando en Madrid, y all pint su famoso Autorretrato (1746, Pars, Louvre). En 1748 viaj a Italia y se radic en Npoles, donde permaneci hasta que su padre le pidi en 1753 que regresara a Madrid para asistir en la ejecucin de una obra de considerable envergadura comisionada por Fernando VI: ilustrar los cantorales para la nueva Capilla Real. Melndez cre doce miniaturas de pgina completa para estos libros, cuyos decorados bordes y letras capitales muestran el inters del artista en las naturalezas muertas. Segn Peter Cherry, en 1753, aunque Melndez ya se haba marchado de Npoles, recibi el ttulo honorario de pintor de cmara de Carlos VII, rey de Npoles y Sicilia. A la muerte de Fernando VI, en 1759, Carlos subi al trono de Espaa como Carlos III, pero en Madrid Melndez nunca logr ser pintor de corte, a pesar de haber elevado cuatro peticiones al rey por dicho ttulo. Durante la dcada de 1760, Melndez se especializ en los bodegones, y de esas obras se conservan unas cien. En 1771, el prncipe de Asturias (futuro Carlos IV) y la princesa Mara Luisa comisionaron a Melndez una serie de bodegones que documentaran toda especie de comestibles que el clima espaol produce, para el nuevo Gabinete de Historia Natural del Palacio Real en Aranjuez. Melndez fue el nico pintor de su generacin especialista en este tipo de pintura, que en la Espaa del siglo xviii ocupaba un lugar inferior en la jerarqua acadmica de gneros pictricos. En una era de empirismo cientfico, Melndez aplic su destreza como miniaturista a la representacin minuciosa de alimentos y humildes utensilios de cocina. Muri en la miseria en julio de 1780. Lisa Lipinski

se cuenta con un lienzo de autora confirmada: La imposicin de la casulla a san Ildefonso (actualmente en Cartagena), el cual muestra la cercana de Morn a la produccin de Pantoja, sobre todo en los claros paralelismos con la Santa Leocadia pintada por Pantoja para la catedral de Crdoba. Como retratista, tan solo podemos adjudicarle a Morn el cuadro de La infanta Margarita Francisca, hija de Felipe III, perteneciente al Museo del Prado. Es una obra ejemplar de la repeticin de los modelos del retrato de corte por parte de los pintores que trabajaron para la Corona espaola. De hecho, la pintura ha sido atribuida a Snchez Coello y a Bartolom Gonzlez. Santiago Morn fue padre del tambin pintor Santiago Morn Cisneros (ca. 1610-1663), ms cercano a la rbita de Vicente Carducho. Leticia Ruiz

presidente. En 1663, Murillo se mud a la parroquia de San Bartolom. Su esposa muri en diciembre de ese ao. La dcada siguiente a esta muerte fue la ms prolfica del artista. Cuando trabajaba en un altar para la iglesia de Santa Catalina, en Cdiz, Murillo sufri una cada de un andamio. Falleci pocos meses ms tarde. Lisa Lipinski

Juan Pantoja de la Cruz Valladolid, ca. 1553 Madrid, 1608 Juan Pantoja de la Cruz fue pintor de obras religiosas, bodegones y algunos frescos. Comenz su trayecto como retratista en el reinado de Felipe II, tras ser colaborador de Alonso Snchez Coello en el perodo final del valenciano y teniendo una formacin previa en otras cortes europeas, donde las influencias de Antonio Moro haban calado profundamente. En sus mejores trabajos impuso un sello inconfundible de sofisticacin y abstraccin geomtrica, con un sentido teatral de la iluminacin que le haca envolver las figuras en poderosos contrastes de luces y sombras. Pantoja empez a pintar para la corte a mediados de la dcada de 1580, aunque hasta 1596 no fue nombrado pintor de cmara. A partir del ascenso al trono de Felipe III, el vallisoletano se convirti en el retratista ms representativo del perodo, con una especial dedicacin a los encargos ms personales de la reina Margarita: muchas efigies de nios y retratos a lo divino, aquellos en que colocaba los rostros de la familia real en personajes de la historia sagrada y el santoral cristiano. Para tanto trabajo, cont con un gran taller en el que se form un buen nmero de los pintores que dieron continuidad a las rgidas frmulas retratsticas de la corte espaola desde mediados del siglo xvi. Los retratos de Pantoja fuera de la corte resultan efigies ms incisivas e intensas psicolgicamente, con una factura ms suelta y vigorosa, como acredita, por ejemplo, el Retrato de fray Hernando de Rojas (coleccin de los duques de Valencia). Leticia Ruiz

neoclsico. Parece que estudi la pintura veneciana del siglo xviii y tambin la francesa, pues su maestro fue Charles de La Traverse, artista que trabaj en Espaa. Sus agradables paisajes, plenos de menudas figurillas, y las escenas costumbristas, no exentas de intencin crtica o tierno aire picaresco, lo sitan entre los mejores pintores europeos del gnero en su tiempo. Son tpicas sus obras en pequeo formato, centelleantes en los colores y vibrantes en el finsimo toque. La fantasa y la riqueza de las escenas no tienen paralelo en el arte espaol y se despliegan ante la vista con un esplendor inimitable. Hizo algunos retratos, pint paisajes de los puertos del norte de Espaa, asuntos religiosos y escenas histricas, entre otros motivos, y dise desde altares hasta fuentes. Juan J. Luna

Bartolom Esteban Murillo Sevilla, 1617-1682 El pintor y dibujante espaol Bartolom Esteban Murillo naci en Sevilla y fue bautizado all el 1 de enero de 1618. Su padre, Gaspar Esteban, era barbero-cirujano; su madre, Mara Prez Murillo, provena de una familia de plateros y pintores. Siguiendo la tradicin andaluza, el pintor adopt el apellido materno, Murillo, en vez del paterno. Qued hurfano a la edad de nueve aos cuando, en un plazo de seis meses, perdi a ambos padres. Recibi instruccin en el estudio que tena en Sevilla Juan del Castillo, pariente suyo por parte de madre, pero no hay constancia de un contrato de aprendizaje. En 1645 Murillo contrajo matrimonio con Beatriz Cabrera y Villalobos, con quien estuvo casado veinte aos y tuvo once hijos. Ese mismo ao recibi su primera comisin importante: una serie de once lienzos para el pequeo claustro del Monasterio de San Francisco el Grande, en Sevilla. En estas obras, Murillo combina la influencia de la pintura de Francisco de Herrera el Viejo con el naturalismo y el tenebrismo (contraste marcado entre luz y sombra, producido usualmente por una fuente de luz concentrada o forzada) de Francisco de Zurbarn. En este perodo temprano pint a menudo imgenes de nios, por lo adquiri fama en el extranjero, especialmente en Inglaterra y Francia. Sus pinturas de la Virgen y el Nio contribuyeron a popularizar an ms este tema. Murillo produjo una cantidad considerable de obras de carcter religioso, entre ellas numerosas imgenes de la Inmaculada Concepcin. Fue tambin uno de los ms grandes retratistas de su poca, habiendo desarrollado desde temprano importantes contactos con la clase intelectual sevillana, que se mostr deseosa de comisionarle retratos. Durante la dcada de 1650, Murillo cambi a menudo de domicilio, posiblemente en busca de espacio para su familia cada vez ms numerosa. Se encontraba entonces en el apogeo de su carrera y reciba de continuo importantes comisiones para altares y retratos. En enero de 1660, Murillo, Francisco de Herrera el Joven y varios otros artistas prominentes fundaron la Real Academia de Bellas Artes de Santa Isabel de Hungra en Sevilla, con Murillo como

Jusepe de Ribera Jtiva, Valencia, 1591 Npoles, 1652 Ribera es, cronolgicamente, el primero de los grandes maestros espaoles que surgieron en las dcadas centrales del siglo xvii. Los comienzos de su educacin artstica son todava objeto de conjetura, pero hay constancia de su presencia en Parma en 1611, cuando tena veinte aos. Cuatro aos ms tarde se encuentra en Roma, en una colonia de pintores extranjeros y llevando quiz una vida bohemia: se cuenta que abandon la ciudad para escapar de sus acreedores. Para 1616 estaba en Npoles, donde se cas con la hija de Bernardino Azzolino, un importante pintor local de reconocido prestigio. El reino de Npoles estaba entonces bajo el dominio de Espaa, y Ribera vivi en su capital por el resto de su vida. Adems de tener importantes clientes de Roma y otras ciudades aparte de Npoles, el joven pintor fue pronto descubierto por el virrey espaol, el duque de Osuna. Por mediacin del duque y de todos los virreyes siguientes (el duque de Alcal, el conde de Monterrey y el duque de Medina de las Torres), su obra entr a Espaa, y en particular a la coleccin real. De hecho, Felipe IV lleg a poseer ms pinturas de Ribera que de ningn otro artista espaol (alrededor de cien, distribuidas entre El Escorial y el Palacio Real). A pesar de la influencia que ejerci Ribera sobre los pintores espaoles, los crticos e historiadores del arte estiman que su estilo, tipos y temas son marcadamente extranjeros. Ribera adopt una forma extrema del naturalismo de Caravaggio, que se manifiesta en su uso de fuertes contrastes de luz y sombra y en su galera de personajes toscos presentados con crudo realismo, pero tambin absorbi rasgos de otros lenguajes artsticos de la poca tales como el clasicismo bolos y el color romano. Tal diversidad de medios expresivos fue nica entre sus contemporneos espaoles. Adems de los temas religiosos, Ribera cultiv otros gneros que no tenan paralelo en Espaa, tales como sus series de mendigos y de filsofos de la Antigedad, o escenas inspiradas en la mitologa clsica, que debe haber conocido a fondo. Tambin fue dibujante prolfico y experto grabador, ocupaciones poco comunes entre los artistas espaoles de ese perodo. Desde el punto de vista tcnico, las pinturas de Ribera se caracterizan por su grueso empaste, que

Santiago Morn ca. 1571-1626 Son muy escasos los datos con que se cuenta sobre este pintor, que ejerci principalmente como retratista. La primera noticia que se tiene de l data de 1597 y lo vincula en Madrid a Juan Pantoja de la Cruz, con quien tuvo especial trato. En 1609, tras algn tiempo en Valladolid siguiendo el traslado de la corte a dicha ciudad (1601-1606), sucedi a Pantoja, muerto el ao anterior, como pintor de cmara de Felipe III en Madrid. La documentacin ha revelado que, adems de retratos, Morn realiz cuadros religiosos, como una serie con la vida de Cristo y cuatro historias sobre la Virgen que pint en 1613 por encargo del pintor Mateo Serrano, quien se encontraba en aquel tiempo restaurando las pinturas del retablo de la Iglesia de la Asuncin en Robledo de Chavela (Madrid). De este gnero pictrico slo
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Luis Paret y Alczar Madrid, 1746-1799 Paret y Alczar fue un exquisito autor de refinadsimas composiciones, llenas de gracia y elegancia. Con grandes dotes de observacin para los motivos de gnero, pint obras que constituyen hoy uno de los mejores documentos para conocer la sociedad de su tiempo. De padre francs y madre espaola, se form parcialmente en la Real Academia de San Fernando y estuvo en Roma tres aos. Trabaj para el infante don Luis, hermano de Carlos III, y acusado de cmplice en los los amorosos del infante, fue desterrado a Puerto Rico (17751778). Regres a Espaa y se estableci en Bilbao, ya que hasta 1787 no se le permiti entrar en Madrid. Es el ms rococ de los pintores espaoles, pero tambin conoci los principios del estilo
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les da una calidad tctil y que el artista emple de manera muy efectiva para representar diferentes texturas y dar una impresin de tridimensionalidad monumental. Pablo Prez dOrs

Peter Paul Rubens Siegen, 1577 Amberes, 1640 Peter Paul Rubens, pintor, dibujante y diplomtico flamenco, naci en Siegen, Westfalia, el 28 de junio de 1577. Al morir su padre, su madre mud la familia de nuevo a Amberes, ciudad de donde eran originarios. Rubens tena once aos. Se convirti del calvinismo al catolicismo y fue alumno en la escuela del latinista Rombout Verdonck, donde recibi una educacin clsica completa. Hablaba holands, latn, italiano y francs. En 1598, luego de un perodo de aprendizaje con los pintores Tobias Verhaecht (pariente lejano suyo), Adam van Noort y Otto van Veen, Rubens se incorpor como maestro pintor al gremio de San Lucas en Amberes. En 1600 viaj a Italia, donde pint retratos de Vicenzo I Gonzaga, duque de Mantua, y copi muchas pinturas renacentistas famosas de la coleccin ducal. Tambin visit Venecia y Roma, donde vio el estilo tardo de Tiziano y el dramatismo en la luz y el color de Tintoretto, todo lo cual adoptara ms tarde. En marzo de 1603, Vicenzo envi a Rubens a Espaa, donde permaneci ocho meses. Durante esa estancia, el ministro del rey le comision un retrato importante. En 1608, Rubens regres a Amberes, donde vivi el resto de sus das. En 1609 se cas con Isabella Brant, quien muri en 1629. Cuatro aos ms tarde se cas con Hlne Fourment, que pos para muchas de sus obras tardas. La actividad diplomtica de Rubens comenz en 1623 y muchas de sus comisiones importantes se debieron a sus contactos con la realeza en la mayora de las cortes de Europa. Estas comisiones incluyeron no solo retratos sino tambin alegoras y escenas de la mitologa, muchas de ellas en alabanza a sus mecenas. Rubens construy una gran casa en Amberes, donde dedic un ala a su estudio. Numerosos asistentes facilitaron su prodigiosa produccin. El pintor ms renombrado y de mayor talento entre los empleados en su estudio fue Anton van Dyck. Rubens fue el artista ms verstil e influyente de la Europa septentrional en el siglo xvii. Adems de pintar, dise tapices y decoraciones para festividades, y cre ilustraciones para libros. Muri en Amberes el 30 de mayo de 1640. Lisa Lipinski

portugus Juan III le coste en 1550 un viaje a Flandes para que completara all su formacin. En tierras flamencas, el pintor estuvo al servicio del cardenal Granvela y fue discpulo de Antonio Moro. Al regresar a Lisboa, hacia 1552, es probable que comenzara a trabajar para el prncipe Juan Manuel de Portugal y su esposa doa Juana, hermana de Felipe II. Cuando esta qued viuda, regres a Espaa para asumir el gobierno durante la ausencia de su hermano y, poco despus, en torno a 1555, Snchez Coello le llev a la corte, entonces en Valladolid, un retrato de su hijo, el futuro rey Sebastin de Portugal. El pintor ya no regres a Portugal. En Valladolid realiz los primeros retratos del prncipe Carlos, hijo de Felipe II, y hacia 1560 contrajo matrimonio con Luisa Reynalte, de familia de plateros. Ese mismo ao fue nombrado pintor de cmara de Felipe II, puesto que ocup hasta su muerte, acaecida en 1588 en Madrid, ciudad en la que residi desde 1561, cuando se estableci en ella la corte. A lo largo de su carrera, Snchez Coello se dedic fundamentalmente al retrato, aunque tambin realiz obras religiosas como el retablo de la iglesia de El Espinar en Segovia (1574-1577) y algunas parejas de santos para los altares de la baslica de El Escorial (1580-1582). Ocupa un puesto fundamental dentro de la historia de la pintura espaola, pues fue el iniciador del gnero retratstico en la pennsula, introduciendo el modelo definido por Antonio Moro para representar a los miembros de la casa de Austria. Algunas de sus pinturas formaron parte de las dos principales galeras de retratos creadas durante el reinado de Felipe II, la del Palacio de El Pardo y la del Alczar madrileo, ambas desgraciadamente desaparecidas a causa de sendos incendios en 1604 y 1734. En la actualidad, sus obras se conservan en el Museo del Prado, en fundaciones reales espaolas, como el Monasterio de las Descalzas Reales, y en museos y colecciones de Austria y Bohemia. Trinidad de Antonio

Tiziano Vecellio di Gregorio Pieve di Cadore, ca. 1490 Venecia, 1576 Tiziano naci en el seno de una importante familia de Cadore. Hacia 1500-1502 lleg a Venecia, donde form parte del taller de Gentile Bellini, aunque despus entr en el de su hermano Giovanni. En torno a 1507, sin embargo, se asoci con Giorgione y juntos decoraron las fachadas del Fondaco dei Tedeschi, almacn de los comerciantes alemanes en Venecia; apenas se conserva algo de los frescos originales. En 1511, y tras la muerte de su colega un ao antes, trabaj en la Escuela de San Antonio de Padua pintando los frescos que representaban ciertos milagros atribuidos al santo. En 1513 rechaz la invitacin de Pietro Bembo para instalarse en Roma y prefiri prestar sus servicios al gobierno veneciano; de hecho, tras la muerte de Giovanni Bellini en 1516, acapar todos los encargos pblicos de envergadura. Ese ao pint El tributo de la moneda (Dresde, Staatliche Kunstsammlungen, Gemldegalerie Alte Meister) para el duque de Ferrara, Alfonso I dEste, quien aos despus le encargara varias obras para el estudio que tena en su residencia

de Ferrara: Baco y Ariadna (Londres, The National Gallery), La bacanal de los andrios y Ofrenda a Venus (ambas en el Prado). En 1518 entreg La Asuncin de la Virgen para el altar mayor de la iglesia veneciana de Santa Mara Gloriosa dei Frari y comenz la Pala Pesaro para decorar el altar de la capilla de esa familia en la misma iglesia. Ambas obras, junto con El martirio de san Pedro Mrtir, pintado en 1526 para un retablo de la iglesia de Santi Giovanni e Paolo y conocido slo por copias, constituyen su esencial aportacin a la renovacin del gnero del cuadro de altar. Poco despus comenz a trabajar para Federico II Gonzaga, marqus de Mantua, quien a su vez le present al emperador Carlos V. Es probable que retratara a este ltimo hacia 1530 en ocasin de su coronacin en Bolonia y volvera a hacerlo tres aos despus, inaugurando as una relacin que lo lig con la casa de Austria durante ms de cuarenta aos, pues sus pinturas se adecuaron perfectamente a las necesidades polticas, cortesanas, devocionales o meramente artsticas de ciertos miembros de la familia y algunos de sus cortesanos ms allegados. En 1533 fue nombrado Conde Palatino y Caballero de la Espuela de Oro por Carlos V, pero rechaz en varias ocasiones las invitaciones para establecerse en la corte hispnica. Pint varios retratos del emperador y de su hijo Felipe II, creando el prototipo de retrato de aparato que tanto cundi despus. Adems, ejecut pinturas religiosas como La gloria y El entierro de Cristo (Prado) y distintas versiones del Ecce Homo y La Dolorosa, y pinturas mitolgicas como Dnae y Venus y Adonis (Prado) para Felipe II y las Furias para su ta Mara de Hungra. A su vez, sigui recibiendo encargos de mecenas italianos como el duque Guidobaldo II della Rovere, para quien pint la Venus de Urbino (Florencia, Galleria degli Uffizi), y espaoles como Alfonso de valos, marqus del Vasto, a quien retrat (Prado). Tambin fue auspiciado por pontfices como Pablo III (Npoles, Museo Nazionale di Capodimonte) e instituciones religiosas como la iglesia de Santa Mara delle Grazie de Miln, para la que pint La coronacin de espinas (Pars, Muse du Louvre). Tras una longeva existencia, muri el 27 de agosto de 1576 mientras la peste asolaba Venecia. Jos Riello

esta preferencia por un gnero tradicionalmente importado de los Pases Bajos, Van der Hamen imitaba conscientemente modelos flamencos. Sin embargo, sus lienzos siempre muestran su personalidad artstica propia, y su obra fue clave en el desarrollo de un tipo de bodegn inconfundiblemente espaol, caracterizado por su enfoque de sntesis formal, sus cualidades geomtricas y escultricas, y su cuidadosa interpretacin de los efectos de luz y espacio. Debido al xito de su produccin, Van der Hamen y su taller prcticamente monopolizaron el gnero del bodegn en la corte durante la dcada de 1620. Recibi encargos de Felipe IV y sus obras aparecen en las colecciones aristocrticas ms importantes de ese perodo. Van der Hamen colabor con el importante pintor y terico del arte Vicente Carducho y, a juzgar por sus numerosas amistades en los crculos literarios, debe haber tenido inclinaciones intelectuales. Tambin fue un excelente retratista y pintor de escenas religiosas, tales como los lienzos que produjo para el real convento de La Encarnacin. Pablo Prez dOrs

Anthony van Dyck Amberes, 1599 Londres, 1641 Fue el pintor flamenco ms importante despus de Rubens en la primera mitad del siglo xvii, y para el siglo xviii ya se le consideraba su igual. Naci en Amberes, principal centro mercantil y cultural de los Pases Bajos espaoles, y fue discpulo de Hendrik van Balen. Para 1615-1616 era ya un artista independiente y desde principios de 1618 fue maestro pintor en el gremio de San Lucas. Durante estos primeros aos de su carrera, Van Dyck se desempe como asistente en el estudio de Rubens. Luego de unos meses en Londres durante 1620-1621, Van Dyck se traslad a Italia, donde vivi seis aos. Siguiendo el ejemplo de Rubens, sent base en Gnova y desde all viaj a Roma, Florencia, Boloa, Venecia, Mantua y Palermo. Se interes en la obra de Tiziano, el Verons y Tintoretto, y su famoso cuaderno italiano (British Museum, Londres) est repleto de esbozos de las pinturas que admiraba. Los retratos de importantes personajes y familias de Gnova que pint durante su permanencia en Italia cimentaron su reputacin como artista de envergadura. Van Dyck regres a Amberes en 1628 ya consumado como pintor de corte. En 1632 fue nombrado retratista de Carlos I de Inglaterra y recibi un ttulo nobiliario, amn de ingresos sustanciales. Durante una estancia de doce meses en Flandes, de 1634 a 1635, Van Dyck ejecut varios retratos, incluido el del cardenal-infante Fernando de Austria (El Prado, Madrid). Luego de este perodo en los Pases Bajos regres a Inglaterra, donde desarroll una modalidad pastoral para representar las poses, la vestimenta y la ambientacin en los retratos de sus distinguidos clientes. Su obra ms conocida es el retrato del rey Carlos I en atuendo de caza, ca. 1635 (Louvre, Pars). En Inglaterra tambin produjo la Iconografa, una coleccin de grabados de prncipes, eruditos y artistas, y plane una serie de tapices destinados a

Juan van der Hamen y Len Madrid, 1596-1631 Juan van der Hamen y Len perteneci a la segunda generacin espaola de su familia por va materna. Su abuelo, oriundo de Flandes, se haba trasladado de Bruselas a Madrid para servir como soldado al emperador Carlos V. La familia segua una fuerte tradicin militar, y al igual que su abuelo materno y sus dos tos, Juan fue miembro de la Guardia de Arqueros, un cuerpo de gran prestigio social dedicado a la proteccin del rey, cuyos integrantes provenan de la nobleza flamenca y sus descendientes. Van der Hamen cultiv con amplitud la pintura de flores, un gnero tpicamente flamenco que en la Espaa de principios del siglo xvii gozaba de especial favor, lo cual puede haber contribuido al xito comercial del artista. Adems de
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Alonso Snchez Coello Benifay, Valencia, 1531/32 Madrid, 1588 Cuando contaba unos diez aos de edad, Alonso Snchez Coello se traslad con su familia a Portugal, donde empez su educacin artstica. Conocedor del talento del joven, el rey
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decorar la sala de banquetes de Whitehall, cuyo tema sera la historia de la Orden de la Jarretera. En 1640 Van Dyck contrajo matrimonio con Mary Ruthven, dama de compaa de la reina. Luego de la muerte de Rubens ese mismo ao, se traslad a Amberes y a Bruselas, donde esperaba obtener un nuevo cargo. Al fracasar este plan, regres a Inglaterra, donde muri en su casa de Blackfiars el 9 de diciembre de 1641, apenas ocho das despus del nacimiento de su hija Justiniana. Lisa Lipinski

Diego Velzquez Sevilla, 1599 - Madrid, 1660 Diego Velzquez se form en el taller de Francisco Pacheco, un pintor erudito con cuya hija se cas. En ese tiempo pint temas religiosos y escenas de carcter costumbrista que trat en clave naturalista y que abord con la originalidad estilstica e iconogrfica que caracterizara toda su obra. Desde 1623 hasta su muerte en 1660, el punto de referencia principal de su trayectoria profesional fue el rey Felipe IV, a cuya sombra desarroll una carrera administrativa que culmin con el nombramiento, en 1652, de Aposentador Mayor. Su residencia en la corte de Madrid estuvo interrumpida por dos viajes a Italia, en torno a 1630 y 1650. El contacto con las riqusimas colecciones reales espaolas y el conocimiento sobre el terreno de lo que se estaba haciendo en Italia son dos de las fuentes principales de su estilo de extraordinaria personalidad, que enfatiza el color como materia principal de la pintura. Con obras de gran originalidad narrativa, Velzquez supone, desde el punto de vista de la historia de la pintura europea, un eslabn fundamental de una larga cadena que tiene como otros hitos principales a Tiziano y Rubens. Aunque la mayor parte de su produccin fueron retratos del monarca y su entorno, ocasionalmente cultiv otros temas, como la historia sagrada, la mitologa y escenas de la historia contempornea. Javier Ports

colores ms claros. Pas sus aos formativos en Sevilla, al mismo tiempo que Velzquez y Cano, y pronto se mud a la cercana Llerena. En 1626 recibi su primer encargo importante en Sevilla, para el monasterio dominico de San Pablo el Real. Los efectos de luz y sombra en el Cristo crucificado que pint para la sacrista eran tan extremos y convincentes que, segn se cuenta, todos los que lo ven, y no lo saben, creen ser de escultura. Otras pinturas de ese mismo monasterio demuestran que el pintor tena un taller grande incluso en esta etapa temprana de su carrera, lo cual da testimonio de su xito comercial. Una tras otra, las principales rdenes religiosas le hicieron encargos, a veces para celebrar acontecimientos importantes tales como la canonizacin de un miembro notable de la orden. En este perodo, pues, se consolid la reputacin de Zurbarn como pintor de series narrativas monsticas. En 1634, fue invitado a trabajar en Madrid en la decoracin del Saln de Reinos del nuevo Palacio del Buen Retiro, bajo los auspicios de Felipe IV. Su estancia de dos aos en la corte ampli sus horizontes artsticos e inspir un giro hacia un estilo ms clsico de inspiracin italiana. Desde mediados de la dcada de 1630 hasta fines de la de 1640, debido a la difcil situacin econmica en Sevilla, Zurbarn cultiv el mercado de ultramar, y muchas pinturas religiosas salieron de su taller para ser vendidas en Lima y Buenos Aires; estos lienzos se convirtieron en un referente importante para la pintura colonial hispanoamericana. Zurbarn regres a la corte en 1658; all continu pintando lienzos devocionales de formato ms pequeo y recibi encargos de monasterios y conventos de Madrid y sus alrededores. Importante no solo por su obra de inspiracin religiosa, Zurbarn fue tambin un excelente bodegonista, gracias a su mirada austera y a su inters en las cualidades y las texturas de las superficies. Pablo Prez dOrs

Francisco de Zurbarn Fuente de Cantos, Badajoz, 1598 Madrid, 1664 Debido a su predileccin por la realidad concreta, su intensa expresin de la trascendencia religiosa y su estilo personal, en cierto modo poco sofisticado pero entraable, Zurbarn ha sido proclamado el mejor exponente de la pintura espaola del Siglo de Oro. Sus representaciones de monjes transportados por el xtasis mstico son, en efecto, uno de los pinculos del arte espaol. La trayectoria artstica de Zurbarn es tambin representativa de su poca: se educ en la tradicin estrictamente naturalista de Caravaggio y, ms tarde, sin adoptar plenamente el nuevo estilo barroco, moder su tenebrismo (el marcado contraste de luz y sombra) y comenz a experimentar con formas ms suaves y delicadas y una paleta ms rica, de
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Masterpieces from the Prado Museum

ENGLISH VERSION

Preface
Accin Cultural Espaola (ac/e) is pleased to join with the Museo de Arte de Ponce, in Puerto Rico, and the Museo Nacional del Prado, in Spain, in offering the Puerto Rican public a selection of masterpiecespaintings of the seventeenth through nineteenth centuryfrom the collection of that great Spanish institution. The name of the exhibition alone, El Greco to Goya, is a promise of the quality and richness of these works, all of which were painted by great masters. Saints, virgins, martyrs, kings, queens, infantas, and still-lifes comprise a large part of the selection, whose works bear the signatures of El Greco, van Dyck, Ribera, Cano, Murillo, Rubens, Zurbarn, Velzquez, Goya, and other great artists. These exquisite works reflect the evolution of Spanish painting through three hundred years, years in which the Spanish Empire, nationally, internationally, and in all its spherespolitical, economic, and culturalpassed through its golden zenith into a profound abyss. This historical process and its complexities were masterfully reflected by the nations artists, who, among their portrayals of both earthly and heavenly power, included even the most mundane aspects of life, like those that appear in the stilllifes, and, sometimes, the grotesque willfulness of their brushes. ac/e once more lends its support in making Spains cultural patrimony internationally visible, and does so with a firm commitment to offering a new look at our history, thereby giving our country a modern, dynamic image which at the same time translates the realities of our cultures with great accuracy and precision. We congratulate the Museo Nacional del Prado and the Museo de Arte de Ponce for their initiative in bringing this project to fruition, and we hope that in Puerto Rico this exhibition will generate a renewed interest in our cultural tradition and our country. The Puerto Rico Tourism Company is pleased to sponsor the exhibit El Greco to Goya: Masterpieces from the Prado Museum, which brings to our island for the first time these splendid creations by Velzquez, Rubens, Murillo, El Greco, Titian, Goya, and other great names in the worlds art, all from the Prados extraordinary collection. This collaboration with the Prado, an institution venerated for both its history and its current vitality, is a recognition of the respect accorded the Museo de Arte de Ponce, and a demonstration of Puerto Ricos ability to host events of international importance that benefit its residents and those visitors from off-island that come to our shores every day. The arts are an essential part of humanitys cultural heritage, and painting is one of its most stirring expressions. Throughout Puerto Ricos history, the island has been the birthplace of distinguished artists whose work has attracted the attention of critics and publics not just here, but around the world. The Puerto Rico Tourism Company recognizes the positive impact that art has on a nations people, and we proudly salute the leading role the Museo de Arte de Ponce has played here on the island and as our ambassador abroad, making available to those who live in other places some of the riches of its collection through traveling exhibits and loans, and, now, making accessible to those who live here the treasures of such a remarkable institution as the Prado. We are extremely pleased to join forces with Puerto Rican businesses and individuals in making possible this exhibit of wonderful art works, and, recognizing the enormous labor done by the Museo de Arte de Ponce, we wish them the greatest success in this and all their endeavors. We trust that the public will come in great numbers to the museum to learn from, appreciate, and enjoy this singular exhibit, which reveals to us, yet again, the magic of art.

Charo Otegui President Accin Cultural Espaola

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Mario Gonzlez Lafuente Executive Director Puerto Rico Tourism Company

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Directors Foreword
Since its founding in 1959, one of the major priorities of the Museo de Arte de Ponce has been to forge collaborative relationships and exchanges with other international institutions. Over and above the historical and emotional ties between Spain and Puerto Rico, the bonds between the Prado Museum and the Museo de Arte de Ponce stem from the very nature of their respective collections, since the almost one thousand European works in the Ponce museum include magnificent canvases by Francisco de Goya, Jos de Ribera, Joaqun Sorolla, and many other Spanish artists whose work ranges from the fifteenth to the twentieth century. The close ties between the two museums have been manifested in a long period of academic and scientific cooperation between the boards of directors, curators, and conservators of the two institutions. This long history of cooperation and mutual respect has led, today, to the exhibition we are so proud to present: El Greco to Goya: Masterpieces from the Prado Museum. This is the first exhibition in the United States and Puerto Rico composed exclusively of paintings from the Prado, and surely one of the most ambitious shows that the Museo de Arte de Ponce has offered the public. El Greco to Goya is the culmination of a joint effort that has been going on for five years between the Prado and the Museo de Arte de Ponce. In 2007, the two institutions signed an agreement to exchange exhibitions of works from their respective collections and to develop joint conservation and research projects. In 2009, the Prado presented Sleeping Beauty: Victorian Paintings from the Museo de Arte de Ponce, a selection of seventeen paintings and works on paper from the museums prestigious collection of British art. With this show, the Museo de Arte de Ponce offered to the throngs of people from around the world who enter the Prado every day, for the first time in its history (and concurrently with the renovation and expansion of the museum facilities that led to the closing of its doors from 2008 to 2010), an exhibit made up entirely of works from its own collection. Now, the great Spanish cultural institution repays that visit with the loan of an important selection of paintings from its permanent collection. This exhibit, El Greco to Goya: Masterpieces from the Prado Museum, makes accessible to residents of Puerto Rico, and visitors to the island, twenty-four of the finest works by the great masters from the Baroque to Neoclassicism. We wish to express our deepest gratitude to Plcido Arango, chairman of the Real Patronato del Museo Nacional del Prado, and to Mara Luisa Ferr Rangel, chairwoman of the Board of Trustees of the Luis A. Ferr Foundation, for their support and leadership, and to all the distinguished members of the boards of the Prado Museum and the Museo de Arte de Ponce. We also wish to thank Gabriele Finaldi, adjunct director of Conservation and Research of the Prado Museum, and we gratefully acknowledge the expertise and dedication of the coordinators of this exhibition, Cheryl Hartup, chief curator of the Museo de Arte de Ponce, and
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A Brief History of the Prado Gabriele Finaldi

Pablo Prez dOrs, assistant curator, European Art, and the teams of professionals from both institutions who have worked to make this exhibition possible. We are especially indebted to the consul-general of Spain in Puerto Rico, Eduardo Garrigues, for his disinterested and enthusiastic cooperation in encouraging Spanish institutions and companies to support the exhibition, which would not be possible without the participation of Accin Cultural Espaola (ac/e), its board members and president Charo Otegui; to the Banco Santander, the principal sponsor of this exhibit, and its president in Puerto Rico, Javier Hidalgo, for their commitment and support; to the Fundacin Banco Santander in Spain and Charo Lpez Meras; to Mario Gonzlez Lafuente, executive director of the Puerto Rico Tourism Company, for sponsorship of this catalog; to Carlos Unanue, president of Goya Foods of Puerto Rico, for their sponsorship of the education programs related to the exhibition, and to John Cook and Juan Carlos Sotomonte for their generosity in sponsoring the opening dinner. To these, and all who have collaborated in this project and cannot be named individually here, our sincere thanks. A Museum of Painters More Than of Painting The Museo del Prado has a very special place in the cultural and artistic landscape of Europe. It is undoubtedly one of the most impressive collections of European art anywhere. But where the Louvre is an encyclopedic and trophy-laden treasure house, the great museums of Berlin and Vienna are sprawling spectacles of art, and the National Gallery in London is the sublimated exhalation of the history of European painting, the Prado is something different. It is the home of the great painters. To use the words attributed to a distinguished French visitor of the midnineteenth century, writer Thophile Gautier, the Prado is more a museum of painters than of paintings. Titian, Rubens, Velzquez, and Goyapainters painters, painters who relished the physical qualities of paint, oil, and pigment, pushing it around the surface of their canvases with virtuosity, intelligence, and pleasurelive in the Prado. They are present in extraordinary strength and depth. There are some 40 paintings by Titian (ca. 14901576), 90 by Rubens (15771640), 50 by Velzquez (15991660), and 140 by Goya (as well as more than 1,200 drawings and prints by him). Their works converse across the thresholds of the halls and galleries of the museum, just as the artists themselves conversed with one another in life, either metaphorically or really, as Rubens did with Velzquez, for example, when he visited Madrid at the end of the 1620s. During that trip, Rubens endeavored to copy every single Titian he saw in Spainand there were already about thirty then reinterpreting each one in accordance with his flamboyant and optimistic sensibility. Velzquez, in his own quiet and infinitely subtle way, looked at and learned from those same Titians which, since Velzquez was the de facto curator of the Spanish royal collections, were in his care. A little over a century later, Francisco de Goya (17461828) was not cowed by the spectacular paintings that lined the walls of the palaces in and around Madrid, from the new Royal Palace to El Escorial, but instead engaged in a profound dialogue with Velzquez, who acted as a prism for his understanding of the other masters. Indeed, there comes a moment during ones visit to the Prado when the chronological sequence of these artists becomes confused and one is not sure whether it was Rubens who saw the Titians, or vice versa; whether Goya comes before Velzquez, or vice-versa; or whether Titian was influenced by the works he saw of the two Spanish painters. (Titian in fact never visited Spain.) Surrounding these artists is a constellation of other great names, which in many instances are also represented in extraordinary strength in the museumnames like El Greco, Ribera, and Murillo, some of whose works are included in this exhibition. Monarchs with a Passion for Art The monarchs of Spain have, as a rule, been blessed with a great love of art, and it is thanks to their collecting instincts as well as their ability to recognize exceptional talent among contemporary
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artists that the Prado houses the collection it does today. Isabella of Castile (known in the Hispanic world, due to her piety, as Isabel la Catlica) recognized the skills of Juan de Flandes and brought him to Spain in the mid-1490s, together with the Estonian painter Michel Sittow; Charles V, King of Spain (r. 15161556) and Holy Roman Emperor (fig. 1), and his son Philip II (r. 15561598) were the principal patrons of Titian, virtually monopolizing his autograph production from the 1540s onward. Philips enthusiasm for Netherlandish painting explains why most of Hieronymus Boschs works are in Madrid rather than in Brussels or Amsterdam, and why Bosch is known in Spain by the Hispanicized cognomen El Bosco. Philip IV (r. 16211665) was probably the Spanish king most sensitive to painting. At the age of eighteen he appointed Velzquez, then just 24, to be his court painter, and Velzquez held that post from 1623 until his death nearly four decades later. Philip IV was also an important patron to Rubens and Jusepe de Ribera (15911652)the latter of whom worked in Spanish Naplesand he favored their work with genuine passion (cat. nos. 5 and 3). Even Charles II (r. 16651700), who, the last of the inbred Hapsburgs, was intellectually and physically stunted, seems to have had an uncommon feeling for painting, and he brought Naples-born Luca Giordano (in Spanish, Lucas Jordn) (16341705) to Madrid in 1692, thereby inaugurating a new springtime both in Spanish decorative painting and in the Neapolitan artists own career.

Fig. 1. Tiziano. Carlos V at the Battle of Mhlberg. 1548.Oiloncanvas,335cm283cm.

Miguel Zugaza Miranda Director, Museo Nacional del Prado Agustn Arteaga Director, Museo de Arte de Ponce

Nor did it end with the Hapsburgs. Philip V de Bourbon (r. 17001746) and his queen-consort, Elisabeth Farnese of Parma, acquired important works by Poussin as well as by Dutch and Flemish artists; in the 1750s and 1760s Charles III invited Corrado Giaquinto (17031765), Anton Raphael Mengs (17281779), and Giovanni Battista Tiepolo (16961770) to work for him, and Charles son and successor, Charles IV, appointed Goya First Painter to the King in 1800. Ferdinand VII, one of the least admired of the Spanish kings, was portrayed by Goya both as prince and as monarch (cat. no. 19); he was an active patron and

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Velzquez self-portrait in Las Meninas (The Maids of Honor) (fig. 2), although technical examination of the painting is inconclusive on this question. Elisabeth Farnese (16921766), queen-consort of Philip V, was a competent artist and made copies of works in the Royal Collection, and several nineteenth-century members of the Bourbon family were enthusiastic practitioners of painting and drawing. A grand posthumous portrait of Queen Mara Isabel de Braganza painted in 1829 by Bernardo Lpez (17991874) (fig. 3) shows her pointing with one hand toward the Prado and with the other at the plan for the display of the pictures on its walls, betraying an uncommon attention on her part to the details of the nascent museum.
Fig. 2. Diego Velzquez. Las Meninas. ca.1656.Oiloncanvas,318cm276cm.

collector, and it was he, under the encouragement of his second wife, the Portuguese princess Mara Isabel de Braganza, who decided to establish the Royal Museum of Painting and Sculpture, later known as the Museo del Prado.

The Origins of the Prado As early as the 1770s, Charles III (r. 17591788) had wanted to establish a Museum of Painting; three decades later Joseph Bonaparte, the brother of Napoleon who was forced on the Spanish as their king in 1808, laid plans for a National Museum. But it fell to Ferdinand VII, restored to the throne in 1814, to actually found it. An elegant and austere Neoclassical edifice located on the Paseo del Pradodesigned by Juan de Villanueva in the 1780s as the Academy and Museum of Natural Sciences was the building chosen to house the museum (fig. 4). It had been planned as part of an Enlightenment complex of buildings and grounds dedicated to science, a sort of eighteenth-century science park to include the Botanical Garden at the south end of the building (which still exists and still functions) and the Royal Observatory in the nearby Retiro Gardens (which still exists but does not function). The academy-and-museum building had been left unfinished, however, and thus had never fulfilled its original purpose. Its destiny was ultimately to be quite different.

esplanade) of the Church of San Jernimo el Real, on the east side of Madridopened its doors, there were 311 Spanish paintings on display. These had been selected by the king and by the museums first director, the Marqus de Santa Cruz, from the royal palaces in and near the capital and among them were important works by Velzquez, Goya, Ribera, and Murillo. Las Meninas was on display from the beginning, as were Goyas equestrian portraits of Charles IV and Queen Maria Luisa of Parma. Ferdinands declared intention was to offer to the public a copious collection of paintings of national and foreign schools in a museum that shall be an embellishment to the capital of the kingdom and shall lend luster and splendor to the nation, provide the occasion for wholesome enjoyment to those who are interested in the arts, and provide students of drawing with the most efficacious means of improving rapidly in their studies. The museum opened to visitors one day a week, on Wednesday from 9 until 2. Just five years later, 512 Spanish and Italian paintings were listed as hanging on the walls of the museum, including Mantegnas Death of the Virgin (fig. 5) and Titians standing portraits of Charles V and Philip II. By 1834, Goyas Second of May and Third of May, commissioned in 1814 to illustrate the heroic resistance of the populace of Madrid to the French invasion in 1808 and the subsequent brutal execution of the Spanish patriots, were also in the museum (figs. 6 and 7). By 1858, thanks to the generosity of Ferdinands daughter, Isabella II, the collection had grown to seven times what it was in 1819.

also included works by contemporary artists that had been acquired by the Spanish state at the annual National Exhibitions of Fine Art beginning in 1856, although very few of these were actually displayed because of the chronic lack of space in the Villanueva building.

Fig. 6. Francisco de Goya. Second of May. 1814.Oiloncanvas,266cm345cm.

Fig. 3. Bernardo Lpez. Mara Isabel de Braganza, Queen of Spain, as Foundress of the Museo del Prado.1829.Oiloncanvas,258cm174cm.

The interest that the Spanish royals took in painting was the subject of literary anecdote as early as Vasari (1568), who stated that the work of [Titian] so pleased that all-conquering Emperor, that after he had once seen it he would not be portrayed by other painters, and Carlo Ridolfi reported in his 1648 biography of Titian that the emperor had condescended to pick up Titians brush when he dropped it. Francisco Pacheco (1649) reported that Philip IV admired the first portrait that Velzquez made of him so much that he immediately made him his exclusive portraitist, in a direct imitation of the honor accorded Titian by his great-grandfather Charles V. Philip IV was taught drawing and painting by Juan Bautista Mano (15811649), the Dominican friar-painter, and Rubens writes in one of his letters that when he was in Madrid in 162829, the king would visit him to see him at work practically every day. Legend has it that it was the king himself who painted the cross of the Order of Santiago on
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Fig. 7. Francisco de Goya. Third of May. 1814.Oiloncanvas,266cm345cm.

Fig. 5. Andrea Mantegna. The Death of the Virgin. ca. 1462.Mixedtechniqueonpanel,54.5cm42cm.

Fig. 4. Juan de Villanueva. Cabinet of Natural History and Academy of Sciences (currently the Villanueva wing of the Museo del Prado).Designedca.1780-1790.

On November 19, 1819, when the Real Museo del Prado, the Royal Prado Museumso named because of its location in the area known as the Prado de San Jernimo, or meadow (lawn or

Following the revolution of 1868, the Royal Museum was nationalized and officially became the Museo Nacional del Prado. In 1870 its collections received a massive injection of some 1,700 paintings with the annexation of the Museo de la Trinidad, a museum founded in 1837 with works from the nationalized monasteries and convents of Castile. This brought important religious paintings by El Greco (15411614), Juan Bautista Mano, and Vicente Carducho (15761638) to the Prado, as well as a group of portraits by Goya, and his Christ on the Cross. The new holdings
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Building up the Collection In the late nineteenth century, to relieve the pressure on space, the Prado adopted a policy of depositing works of art from its collections in museums and public buildings throughout Spain and in diplomatic residences abroad. The Prado disperso, as this ideal museum is sometimes referred to, is today composed of some 3,500 paintings and sculptures. It has not always been easy to keep track of this sprawling patrimony, but in the 1970s it became one of the museums priorities to inventory and track these pieces, and in 2002 the decision was made to establish a center in vila, northwest of Madrid, from which to administer the dispersed museum. During the course of the twentieth century there were many gifts and bequests to the museum, notably those of Pablo Bosch in 1915 (which included paintings as well as a large collection of

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medals), Pedro Fernndez Durn in 1931 (paintings, including the Colossus which was until recently considered to be by Goya, and many Old Master drawings), and Francesc Camb, the Catalan economist and politician who in 1940 donated an important group of early Italian paintings (a school that was practically unrepresented in the Prado), including Botticellis three panels of the Story of Nastagio degli Onesti. Between 1920 and 1970, in three successive periods, new rooms were built onto the rear of the Villanueva building in order to exhibit a larger number of works from the collection and adapt the museum to modern display criteria.

liberties were restored after General Francos dictatorial regime, and a few years after the artists death it was installed in the Casn del Buen Retiro. Since 1991 Guernica has formed the centerpiece of the Museo Nacional Centro de Arte Reina Sofa (known colloquially as the Reina Sofa Museum), Spains principal museum of modern art, where it continues to play the dual role of cultural and political icon. The Prado and Artists: A Special Relationship From the museums origins until 1960, most of its directors were practicing artists, and several of them installed their studios in the building. As we have seen, works by Goya were exhibited in the museum while he was still alive. Over the course of the nineteenth century, the Prado came to house an extensive representation of Spanish painting, with works spanning a period from the Siglo de Oro (mid-sixteenth to late seventeenth century) to the time of Goya. Works by El Greco, Velzquez, Murillo, and Goya himself exercised a powerful influence on visiting artists from abroad, from the Scottish painter David Wilkie (17851841) to Edouard Manet (18321883), who confessed to being ravished by what he saw during his visit in 1864, and from the American John Singer Sargent (18561925), whose fascination with Las Meninas accompanied him for the rest of his life, to Edgar Degas (18341917). The Prados Spanish collection became a spur to the development of a self-consciously modern manner in nineteenthcentury French and Spanish art. Russian artists fell under the spell, too. Ilya Repin (18441930), who came to Madrid in the mid1870s, recalled that when he copied the works of Velzquez in the Prado his soul was on fire.

freedom, have often been considered to stand at the origins of modern painting, reflecting the artists emancipation from preexisting structures of patronage, traditional subject matter, and established painting techniques. The work that has exercised the greatest fascination on twentieth-century artists is unquestionably Las Meninas. Artists from Picasso, who in 1957 devoted four months of activity to painting a whole series of works inspired by it (today displayed in the Picasso Museum in Barcelona), to the Spanish artist-group Equipo Crnica and the sculptor Jorge Oteiza have drawn on it for inspiration. Recently, American video artist Eve Sussmann has produced a sumptuously choreographed installation, 89 Seconds at Alczar (2004), which recreates Velzquez masterpiece on film. It is no doubt the paradoxical qualities of this extraordinary paintingwhich French philosopher Michel Foucault, in a highly influential 1966 essay on the work, declared to be fundamentally a representation about representationthat have elicited such remarkable responses from modern-day artists. The Prados Other Collections In addition to its collection of paintings, the Prado contains important works of sculpture, especially from antiquity and the Renaissance. Philip IV commissioned Velzquez to make bronze casts of famous sculptures in Rome, and several of these are in the collection. But the principal collector of antiquities was Philip V, who purchased works that had belonged to, among others, Queen Christina of Sweden (16261689). These works include the celebrated first-century Offering of Orestes and Pylades (fig. 10), known in Spain as the San Ildefonso Group because it was displayed in the royal palace of San Ildefonso near Segovia, as well as the eight Muses that once decorated the small theater of Emperor Hadrians villa in Tivoli and now welcome visitors to the Prado in the new Sala de las Musas (fig. 11). Housed in the Cloister of the neighboring Hieronymite church now a part of the Prado extension (fig. 12) is the incomparable group of bronze and marble statues depicting Charles V and members of his family created by Italian sculptors Leone Leoni (15091590) and his son Pompeo (ca. 15331608), who were also responsible for making the gilt-bronze portraits of the emperor and his son Philip II for the basilica of El Escorial, as well as all the sculptures for the great altarpiece. The nineteenth-century collections are particularly strong in Spanish Neoclassical sculpture. The Prado has a small but superb holding in the decorative arts, principally the collection called the Treasure of the Dauphin. The Dauphin in question was Louis, son of Louis XIV of France and father of Philip V of Spain. The treasure comprises vases, cups, boxes, and other vessels made of semi-precious stones such as sardonyx, jade, agate, rock crystal, and jasper, with settings and decorative elements made of gilt silver and enameled gold and embellished with ancient and modern cameos, rubies, and diamonds. These pieces were produced in the sixteenth and
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seventeenth centuries in the workshops of Milan, Paris, and Augsburg.

Fig. 10. Artist unknown. ffering of Orestes and Pilades (known as Grupo O de San Ildefonso).ca. 10a.C.Marble,161cm106cm56cm,496kg.

Fig. 8. Eduardo Rosales. The Testament of Isabel la Catlica. 1864.Oiloncanvas,290cm400cm.

In 1971 the collections were once again massively enlarged by the decision to join the collections of the defunct Museum of Modern Art (mostly nineteenth-century paintings and sculptures, including works that had originally been at the Museo de la Trinidad) to those of the Prado. Since these new pieces could not be housed in the Villanueva building, a selection was displayed until 1997 in the Casn del Buen Retiro, one of the few surviving parts of the seventeenth-century Buen Retiro Palace complex, located just a hundred meters from the museum. With the collections of the Museum of Modern Art came works by Vicente Lpez (17721850), Eduardo Rosales (18361873) (The Testament of Isabel la Catlica, fig. 8), a large group of landscapes by Carlos de Haes (18261898), and paintings by Joaqun Sorolla (18631923) and Ignacio Zuloaga (18701945). The year 1981 saw the arrival in Spain of Picassos Guernica, which the artist had painted in 1937 in Paris when he was director of the Prado, a post he held during the Second Republic, from 1936 to 1939. This epic denunciation of the Nazi bombing of the cradle of Basque nationhood had immediately been recognized as a canvas that spoke far beyond the immediate circumstances of its commission (for the Spanish Pavilion at the International Exposition in Paris), and it became one of the most powerful and celebrated works of art of the twentieth century. Picasso later declared that the painting should go to the Prado when democratic
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But the Prado is perceived principally, and rightly so, as a picture gallery. Among the approximately 8,000 paintings in the collection are several dozen which are crucial to an understanding of the history of European art. In comparison with those in many other museums, the paintings in the Prado are, as a general rule, beautifully preserved. Having remained for centuries in the same collection, without passing into the market and suffering the often excessive attentions of commercial restorers, the pictures have survived with their surfaces intact, their colors fresh, and their impastoed paint crisp. Many paintings in the Prado retain their original skin. They look like the artists intended them to look, and this makes a visit to the Prado an aesthetic experience of delicious physical pleasure.

Fig. 9. Francisco de Goya. Saturn Devouring One of his Sons. 1820-1823.Oiloncanvas,146cm83cm.

The so-called Black Paintings (fig. 9), the haunting and nightmarish parade of myth, satire, and religion that Goya painted on the walls of his own house on the banks of the Manzanares River in the early 1820s, entered the Prado in 1881 as the gift of a Belgian banker, Baron mile dErlanger. These works, in which the artists imagination was allowed to roam with complete

Fig. 11. Sala de las Musas,ExtensionoftheMuseodelPrado designedbyRafaelMoneo,2007.

The Prado in the Twenty-First Century In 2002, the Prado began construction on its new and much needed extension to the Villanueva building; the new spaces opened in late 2007 (figs. 11 and 12). Designed by Pritzker

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The Museo de Arte de Ponces Spanish Collection Cheryl Hartup

Prize-winning Spanish architect Rafael Moneo, the addition extends gracefully up the slope leading to the Retiro Gardens, encompassing the austere seventeenth-century cloister of the Church of San Jernimo el Real, and providing the museum with 15,000 square meters (almost 162,000 square feet) of space, half as much again as the main building. The new wing, finished in red brick, Colmenar stone, Madrid granite, and patinated bronze, provides the museum with much needed facilities: a large vestibule, an auditorium, exhibition galleries, expansive storage facilities for works of art, state-of-the-art restoration studios with plentiful natural light, and a new prints and drawings cabinet. With the opening of the extensions new spaces, the Prado has recovered some 25 galleries in the old building, and it has begun a far-reaching process of rehanging the collections, including the redisplay of nineteenth-century paintings and sculptures. The museum has continued to acquire important paintings, including works by Juan de Flandes, Goya, Velzquez, and, most recently, Pieter Bruegel the Elder (in 2010), and to organize major exhibitions on Rubens, Patinir, Picasso, Tintoretto, Turner, and Joaqun Sorolla. The Prado has also opened its doors to contemporary artists, showing works by German photographer Thomas Struth, British Pop artist Richard Hamilton, and American Cy Twomblythese works either produced in the Prado or inspired by paintings in the collection. In 2009 the museum opened its Research Center in the Casn del Buen Retiro and it is here that much of the new research on the Prados works of art is being carried out, often as part of international collaborations. Art historians, curators, restorers, and technical specialists come together here to throw light on more than twenty centuries of European art. which images have played a central role, whether illustrating the power of the monarchy, as in Titians great equestrian portrait of Charles V after his victory over the league of German princes at Mhlberg in 1547 (fig. 1), or the intense religiosity of Philip II as reflected in his inordinate admiration for Rogier van der Weydens Descent from the Cross (brought to Spain in 1559) (fig. 13), or the elegant virtues of the Spanish hidalgo as fashioned in the portraits of El Greco, or Spaniards deeply-rooted popular devotion to the Virgin of the Immaculate Conception as reflected in the works of Murillo and Zurbarn, or the earnest and committed efforts at Enlightenment reform as reflected in the portraits by Goya. On the occasion of this rare opportunity afforded visitors to the Museo de Arte de Ponce to view a selection of masterpieces from the Prado Museum in Madrid, the museum is exhibiting several works from its own Spanish collection in galleries adjacent to the Prado show. This selection of seventeen works, further exploring the subjects of portraiture, genre painting, and Catholic devotion in Spain from the early seventeenth century to the beginning of the nineteenth, will, we hope, enhance viewers experience of the main exhibit by providing comparisons and contrasts with the Prados masterpieces. An additional thirty paintings and sculptures from the Museo de Arte de Ponces Spanish collection will be on view throughout the museum and its gardens.
Fig. 2. Antonio de Puga(1602-1648) D eeds of Charity: Feeding the Poor.ca. 1630.Oiloncanvas,117.5cm161.5cm.

Fig. 13. Roger van der Weyden. The Descent from the Cross. ca. 1435.Oilonpanel,220cm262cm.

collection, Spanish scholars suggested various painters active during the reign of Philip II as its author. El Greco to Goya provides a unique opportunity to reassess this painting in the light of two paintings from Snchez Coellos circle on loan from the Prado: Snchez Coellos own Lady with a Fan (cat. 10), and Juan Pantoja de la Cruzs portrait of Emperor Charles V (cat. 9) based on an original by Titian. Ferr made the most efficient use of his art budget by responding quickly to good opportunities and allowing his eye and intuition, rather than popular tastes and fashions, to determine his purchases. Held encouraged this strategy over the years.
Fig. 1. Attr. to Alonso Snchez Coello(ca. 1531-1588) Lady with a Carnation.ca. 1570.Oiloncanvas,49.4cm38.7cm.

It goes without saying that without the Prado it would be impossible to understand the development of Spanish art, but it is also true that without the Prado it would be impossible to have a proper appreciation of either Spanish history or, to use an oldfashioned expression, the Spanish character.

Fig. 12.LosJernimoscloister,integratedintotheextension oftheMuseodelPradodesignedbyRafaelMoneo,2007.

The Prado has traditionally been perceived as reflecting the history of Spain from the time when the crowns possessions extended from the Netherlands to the Philippines, up to the crisis of 1898, when the last vestiges of imperial power were stripped away with the loss of Cuba and Puerto Rico. It is a history in
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The Museo de Arte de Ponces founder, Luis A. Ferr (1904 2003), and his two principal advisors, Julius Held (19052002) and the museums first director, Ren Taylor (19161997), built the Spanish collection, which numbers approximately sixty works, over a period of forty-five years, while simultaneously collecting art from other schools with a particular emphasis on Victorian, Italian Baroque, French Academic, and Puerto Rican art. It was after several trips to Europe, the first in 1950, that Ferr and his wife Lorencita Ramrez de Arellano (19021970) consciously began to assemble an art collection for a museum Ferr envisioned for his hometown of Ponce. Their dream was to offer the public a rich survey of Western art from the Renaissance through the twentieth century, and to establish the Museo de Arte de Ponce as an important center of European painting and sculpture in the Caribbean and the Americas. In 1957, Ferr purchased his first group of European paintings at an auction in New York City. With the advice of Held, a Rubens specialist and art history professor at Barnard College and Columbia University, Ferr continued to acquire works of high quality, though often by lesser-known artists or of uncertain attribution. Lady with a Carnation, formerly attributed to Alonso Snchez Coello (fig. 1), is a good example of works in this latter category. Once the portrait entered the Museo de Arte de Ponces
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Fig. 3. Rogelio de Egusquiza(1845-1913) Lady in Blue Satin.1873.Oiloncanvas,80cm58cm.

The fledgling Museo de Arte de Ponce opened in 1959 in a colonial house in the historic center of Ponce. It originally displayed seventy-one works, of which fourteen paintings represented the Spanish school. Particularly impressive among these were Deeds of Charity: Feeding the Poor, attributed to Antonio de Puga (ca. 1630, fig. 2); and Rogelio de Egusquizas opulent Lady in Blue Satin (1873, fig. 3). Riberas St. Paul (fig. 4) is an oval bust portrait of great intensity and one of the very few works the artist painted on wood panel. The same year as the new museums opening, Ferr purchased another painting by Ribera, St. Jerome

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Immaculate Conception, along with other Marian devotions such as the Virgin of the Rosary (cat. 6). The Ponce museums painting is perhaps one of the best-known, on account of its provenance.

studying art history and Spanish language and literature at the University of London. In 1953 he moved to Spain with his family and taught English at the University of Granada. While there, he focused his studies on the Baroque architecture of Andalusia and wrote his doctoral thesis on Francisco Hurtado Izquierdo, the architect of the Charterhouse of Granada.

Fig. 4. Jusepe de Ribera(1591-1652) Saint Paul.ca. 1630.Oilonpanel,49.53cm38.2cm.

Fig. 8. Juan Bautista Martnez del Mazo(1613-1667) Queen Mariana de Austria in Mourning.1663.Oiloncanvas,135cm103.7cm.

(1648, fig. 5). This painting provides an interesting contrast to the St. Sebastian by Ribera that will be on view in the exhibition from the Prado (cat. 3). In the Ponce work, Ribera returns to his Caravaggio-inspired darker, starker style, whereas the Prado canvas exemplifies the artists discovery, about a decade earlier, of classically inspired forms and a lighter palette, as seen in paintings of the Bolognese school. Also on view for the museums opening was a then-contemporary painting, Cristbal Ruiz Pulidos threequarter-length portrait of his compatriot, the great cellist Pablo Casals, painted in 1957 in San Juan, where both were in exile from the Spanish government under Francisco Franco.

Fig. 6. Bartolom Esteban Murillo(1618-1682) Immaculate Conception of the Mirror.ca. 1675.Oiloncanvas,192.5cm145cm.

Fig. 5. Jusepe de Ribera(1591-1652) Saint Jerome.1649.Oilonwoodpanel,120cm98.1cm.

Shortly after the museums inauguration, Ferr acquired two large-scale paintings of the Immaculate Conception. The first was by Antonio de Pereda, from 1657, and the second was Bartolom Esteban Murillos Immaculate Conception of the Mirror (ca. 1675, fig. 6). The famous French collector, art dealer, and painter JeanBaptiste Lebrun bought the latter painting in Madrid in 1807, and eventually, after sojourns in important private collections in London, Los Angeles, and New York, the work found its way to Ponce. Murillo painted more than a dozen versions of the
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In 1962, Held facilitated the donation of fifteen works from the Samuel H. Kress Foundation to the Museo de Arte de Ponce, including such important Spanish paintings as Pedro Machucas powerfully expressive The Descent of the Holy Ghost (ca. 1520) and the portrait of Cardinal Don Gaspar de Borja (ca. 1643, fig. 7), then attributed to Velzquez, which had hung for many years in the Metropolitan Museum of Art in New York City. In 1999, to celebrate the four hundredth anniversary of Velazquez birth, the Real Academia de Bellas Artes de San Fernando in Madrid borrowed this portrait to exhibit alongside Velzquez original black chalk drawing of the Cardinal in their collection, plus two other painted versions. The curator of the exhibition and former director of the Prado, art historian Alfonso E. Prez Snchez, concluded that the original painted portrait by Velzquez has yet to be discovered. The functioning of Velzquez workshop and the attribution of many paintings from the masters circle present fascinating and still relatively unexplored topics for research. El Greco to Goya provides an opportunity to examine the Museo de Arte de Ponces portrait of Cardinal Borja in the context of two canvases in the Prado collection from the workshop of Velzquez (kneeling portraits of King Philip IV and Queen Mariana of Austria, cat. nos. 14 and 15) as well as the Ponce museums Queen Mariana de Austria in Mourning by Velzquez best-known associate, Juan Bautista Martnez del Mazo (fig. 8). The Museo de Arte de Ponces Spanish collection began to grow with the arrival of its first director, Ren Taylor, in 1963. A year earlier, Taylor was lecturing in the United States on Spanish art and Ferr invited him to come and give a series of lectures in Ponce. Shortly thereafter, Ferr asked Taylor to become the museums first director, a post he held for twenty-five years. Taylor was born in London and educated at the University of Barcelona. In 1936, after the outbreak of the Spanish Civil War, he continued

Fig. 7. Workshop of Diego Velzquez(1599-1660) Cardinal Don Gaspar de Borja.ca. 1643.Oiloncanvas,77.5cm62.5cm.

As soon as Taylor arrived, he began working on the museums move to its new building, designed by Edward Durell Stone, which opened two years later. The first Spanish purchase during Taylors tenure was Joaqun Sorollas beautiful Female Nude (1886, fig. 9), which follows the Spanish tradition initiated by Velzquez Rokeby Venus and continued by Goya with his majas, the Maja Desnuda (Nude Maja) and Maja Vestida (Clothed Maja). (Coincidentally, Taylor inherited one of Sorollas palettes, which he donated to the Museo de Arte de Ponce a year later.) Held and Taylor were especially drawn to nineteenth-century Spanish painting, and thanks to their joint guidance and expertise, the Museo de Arte de Ponce boasts a fine group of important works spanning the entire century, both chronologically and thematically. These works include a superb Academic portrait, Vicente Lpez Portaas Captain Roche Hastings (ca. 1830, fig. 10), two Orientalist Moorish scenes by Eugenio Lucas (ca. 1860, fig. 11), and Emilio Snchez Perriers evocative Peasant on the Bank of the Guillena River (ca. 1890, fig. 12), a Realist painting influenced by the Barbizon school. Continuing into the twentieth century, Ignacio Zuloagas Basque Peasant (1915, fig. 13) exalts the rugged force of nature and those who work the land. One of Taylors contributions to the new building project was designing and helping to construct the museums Granada Garden, which features a seventeenth-century marble fountain from Andalusia. Over the years, Taylor was instrumental in building the museums Spanish collection and expanding its scope to include such Baroque religious sculpture as the sorrowful Dolorosa by Pedro de Mena (fig. 14) and the fascinating escaparate (a three-dimensional scene set in a glass case, fig. 15) St. Jerome
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Fig. 9. Joaqun Sorolla(1863-1923) Female nude.1886.Oiloncanvas,61.2cm80cm.

Fig. 10. Vicente Lpez Portaa(1772-1850) Captain Roche Hastings.ca. 1830.Oiloncanvas,79cm60cm.

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hesitate a second where to go. Visitors to Ponce are invited to take one such road less traveled by enjoying its superb collection of High Baroque paintings of the Madrid school, some of which date from the reign of Charles II. Charles was an important patron of the arts who was, nevertheless, eclipsed by his father Philip IV in this regard, as well as politically. The hexed king, as this last of the Habsburg kings of Spain was called, can be seen kneeling devoutly in Pedro Ruiz Gonzlez Charles II before the Sacrament (fig. 17; acquired before Taylors arrival), a painting that encapsulates the piety of his time.

Fig. 11. Eugenio Lucas(1817-1870) Moorish Scene by Moonlight.ca. 1860.Oiloncanvas,58.2cm66.2cm.

Fig. 14. Pedro de Mena(1628-1688) Dolorosa.1670-5.Polychromedwoodandgesso,68.9cm57.4cm46.9cm.

Fig. 16. Luis Paret(1746-1799) Self-Portrait.1776.Oiloncanvas,33.6cm23.4cm. CollectionMuseodeSanJuan.

in Penitence, by Granadan specialists Jernimo and Miguel Garca (1619). Another new direction initiated by Taylor involved the organization of the first retrospectives of two Puerto Rican artists affiliated with SpainFrancisco Oller (18331917) and Jos Campeche (17511809). The latter most likely interacted with Spanish Rococo artist Luis Paret y Alczar during Parets exile in San Juan from 1775 to 1778. El Greco to Goya will bring together for the first time Parets Self-Portrait in the Artists Studio (ca. 1786, cat. 17) from the Prado collection and his Self-Portrait (1776, fig. 16) from the collection of the Museo de San Juan. These works, painted only a few years apart, offer a stark contrast: in the first portrait, a well-to-do and worldly artist in a moment of pensive contemplation; in the second, the artist as a robust country peasant holding a machete and a stalk of plantains.

museum. Other important exhibitions of Spanish art presented at the Museo de Arte de Ponce have been Francisco de Goya (1995), Los Sorolla de Valencia (1996), Still-Lifes and Flowers from the Museum of Fine Arts in Valencia (1997), Pablo Picasso: Suite Vollard (1998), and Julio Gonzlez in the Collection of the Institut Valenci dArt Modern (2006).

Fig. 13. Ignacio Zuloaga(1870-1945) Basque Peasant.1915.Oiloncanvas,188cm99cm.

Fig. 12. Emilio Snchez-Perrier(1855-1907) Peasant on the Bank of the Guillena River. ca. 1890.Oilonwoodpanel,30.5cm57cm.

In a letter to Ferr shortly after the museum opened, Held remarked: Art lovers and art historians (which is not always the same) want the excitement of discovery. If I had a choice of visiting a place that has 10 pictures, each one by a famous painter, and another with 200, each by one less well known, I would not
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Another important painting in the Spanish High Baroque manner was on view at the opening of the new building in 1965. This painting, Claudio Coellos Susannah and the Elders (ca. 1663, fig. 18), had been purchased by Ferr in 1964. Done when the artist was twenty-two years old, the work is extraordinary for its overt eroticism. It is a rare depiction of the female nude in Spanish Baroque art, and Coellos only known painting of an Old Testament subject. His warm tonalities and loose brushwork suggest the influence of Rubens and Titian, two artists favored in the Spanish royal collection. Another painting dating from the same period and purchased at around the same time is The Infant Jesus as Victor over Sin and Death, by Francisco Camilo (ca. 1650, fig. 19). Here, religious allegory meets devotional painting as in the Prados Christ as Savior, Blessing, by Zurbarn (cat. 4), although Camilos movement and somber palette could hardly be more unlike Zurbarns more colorful and restrained view. Ferr and Taylors Spanish interests intersected in the Museo de Arte de Ponces Andalusian Baroque collection. In 1984, the University of Crdoba invited Ferr to give a lecture on this topic in the town of Priego de Crdoba, which, incidentally, had been the ancestral home-city of Ferrs maternal line since at least 1710. To honor Ferr and the twenty-fifth anniversary of the Museo de Arte de Ponce, Taylor organized an exhibition for the museum titled The Andalusian Baroque, which featured thirteen works from the permanent collection, many of which he had acquired for the

Fig. 17. Pedro Ruiz Gonzlez(1640-1706) Charles II before the Sacrament.1683.Oiloncanvas,232cmx166.3cm.

Fig. 15. Jernimo and Miguel Garca(activeintheearly17thcentury) St. Jerome in Penitence.1619.Polychromedwoodandterracotta, 49cm48.5cm.

Later in life, Ferr made a concerted effort to strengthen the Spanish collection with works by several of Spains most important artists: Zurbarn, El Greco, Luis de Morales, and Goya, painters he had admired since the 1950s. Zurbarns Crucifix (fig. 20), purchased in 1998, achieves a level of illusionism that was unsurpassed in the artists time. It is said that the sculptural qualities of Zurbarns crucifixes led some viewers to believe that they were wood carvings rather than paintings, a reaction that becomes more understandable if we consider the impression the painting must have made on the devout when it was displayed in a dimly-lit chapel. This canvas establishes an interesting dialogue with the Prados Crucifix by a contemporary of Zurbarn and a fellow Andalusian, Alonso Cano (cat. 7), who tried to affect
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Fig. 18. Claudio Coello(1642-1693) Susannah and the Elders.ca. 1663.Oiloncanvas,122.5cm138.1cm.

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Fig. 19. Francisco Camilo(1615-1673) The Infant Jesus as Victor over Sin and Death. ca. 1650.Oiloncanvas,105.7cm81.8cm.

Fig. 21. El Greco(ca. 1541-1614)andworkshop Saint Francis and Brother Leo Meditating. ca. 1605.Oiloncanvas,155.3cm100cm.

Fig. 23. Francisco de Goya(1746-1828) Martn Zapater.1790.Oiloncanvas,84cm66cm.

the viewer by means of rhythm and color rather than volume and dramatic lighting. In 1999, Ferr celebrated his ninety-fifth birthday by acquiring Saint Francis and Brother Leo Meditating (ca. 1605, fig. 21) by El Greco. This particular composition, of which no fewer than thirty versions have been identified, was especially popular among El Grecos private clients in Toledo, where there were ten Franciscan religious institutions alone. This canvas complements the Prados Saint John the Evangelist (cat. 1) and Saint Sebastian (cat. 2), and together they make a fascinating plea for a discussion of the issues of workshop practice and collaboration.

beauty against the cruelty of his torturers. The contemplative mood of this painting exemplifies the impact on the visual arts of one of the spiritual trends that El Greco would have encountered on his arrival in Spain: encouraging readers of devotional texts to picture vivid mental images in order to elicit from them an emotional response. This trend may also be related to certain aspects of Zurbarns production.

over twenty-five years of correspondence between the men. These letters, first published in 1868, provide us with invaluable insights into Goyas early career at the court of King Charles III. Fittingly, this work was purchased in 2002, the year Held passed away, after forty years of corresponding with his friend Ferr. With these acquisitions at the dawn of the twenty-first century, the Museo de Arte de Ponces Spanish school could, like this exhibition, span the period from El Greco to Goya.

Fig. 22. Luis de Morales(ca. 1520-1586) Christ at the Column.ca. 1566.Oiloncanvas,54.5cm41.25cm.

Fig. 20. Francisco de Zurbarn(1598-1664) Crucifix.ca. 1630.Oiloncanvas,167.6cm118.5cm.

In 2000, a number of donors assisted with the purchase of Luis de Morales Christ at the Column (ca. 1566, fig. 22) for the museums collection. In 1564 Luis de Morales was appointed official painter to the Catholic reformer Juan de Ribera, Bishop of Badajoz, who likely commissioned this painting. Its delicate brushwork in the depiction of Christs fine beard, long eyelashes, tears, bruises, and droplets of blood heightens the viewers compassionate response by setting Christs graceful physical
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Ferrs last major acquisition for the collection was Goyas first portrait of his friend Martn Zapater (1790, fig. 23), a banker and businessman. (A second version is in the collection of the Museo de Bellas Artes de Bilbao.) This portrait makes a fine companionpiece to the Prados Tadea Arias de Enrquez (cat. 18) and Ferdinand VII in a Military Encampment (cat. 19), as it provides a welcome informal counterpoint to the two Prado canvases. The intimacy of Goyas portrait of his former classmate and one of the first collectors of his work suggests that the painting is as much about the endurance of friendship as it is about the individual. The artist includes himself in the portrait by way of a signed dedication to Zapater which the sitter holds in his right handan allusion to
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The Soul of the Empire Religious Painting

Domnikos Theotokpoulos, known as El Greco Saint John the Evangelist
ca. 1605.Oiloncanvas,99cm77cm.P2444.

Series of paintings representing the twelve Apostles, sometimes known as apostolados, were a common sub-genre in the religious painting of the Spanish Siglo de Oro. Such images could be part of altarpieces, and were also often used to decorate the walls of monasteries, convents, and private homes. This painting shows St. John the Evangelist, the author of the last of the four Gospels and the book of Revelation. The portraits of the apostles painted by El Greco fall into two groups: The first includes a large number of relatively small canvases that follow visual formulas similar to the Prados St. John the Evangelist, while the second is comprised of other examples depicting the saints full-length and in twos. The half-figure paintings have clear precedents in the Venetian school, but El Grecos unique personal style naturally comes to the foreground even when he follows traditional schemas.

In Christian iconography, saints were traditionally portrayed with objects associated with the saints life or legend, to ensure that the saint would be recognizable to the viewer; these objects were called the saints attributes. Here, El Greco presents Saint John with one such attribute: a cup, here taking the shape of an ornate golden chalice of a type that was usual during El Grecos lifetime. The little winged serpent that writhes inside it alludes to an episode in Jacobus de Voragines Legenda Aurea, a medieval compilation of saints lives, according to which John had to prove the truth of his preaching by drinking from a poisoned cup without dying. In this example, the saint directs his gaze at some point outside the painting while his slender left hand gesticulates as if inviting someone to look at the chalice he holds in his right; the fact that we do not see his interlocutor gives the painting an intriguing air. Another version of this painting exists in a private collection, although in its present state that painting does not show the saints right hand and the chalice and the saint is depicted against a plain, dark background. The existence of similar paintings and the recycled motifs bear witness to the workshop practice in El Grecos atelier, with which the artist attempted to satisfy the demand for his works. Pablo Prez dOrs

with replicating viewers everyday experience of seeing. El Greco achieved this, in the first place, by means of his characteristic elongation of the human form. Limbs and muscles are connected to each other with little regard for the normal proportions of the body; the artist seeks instead to make the most of the bodys expressive potential. The saints left foot is on tiptoes, barely touching the ground, and the figure with its pulsating outline seems to surge upward like a flame. This is El Grecos way of representing his understanding of the martyrs inward experience, that dramatic moment when his soul yearns to leave the body and ascend. This heavenward movement culminates in the head, atop an impossibly long neck as if it, too, were stretching upward. The saints gaze is turned up and his calm expression suggests an attitude of quiet acceptance, in accordance with Catholic teachings on the ideal way to meet death. The lighting of the scene enhances this silent drama: the background, with a view of Toledo on the right, is an eerie stormy darkness, whereas the saints body is bathed in a supernatural glow. A sort of halo is formed by the clouds behind Sebastian, creating an interesting ambiguity, as it is not clear whether the clouds belong in the natural realm or the supernatural. The transitions between light and shade are painted with the very subtle brushstrokes characteristic of El Grecos last years.

El Greco may have meant to emphasize the relevance of Saint Sebastians example and mediation for his contemporaries in earlyseventeenth-century Spain. The unusual appearance of this painting is due to the fact that at some point the canvas was cut into two different pieces, the upper part containing the body of St. Sebastian and the lower one with his legs and a view of Toledo in the background. There is no evidence as to when or why this was done, but fortunately, the lower fragment appeared on the market a few years after the upper portion was donated to the Prado, making it possible to reunite the two pieces. Pablo Prez dOrs

Jusepe de Ribera The Martyrdom of Saint Sebastian

1636.Oiloncanvas,127cm100cm.P01095.

Domnikos Theotokpoulos, known as El Greco Saint Sebastian

ca. 1610-1614.Oiloncanvasintwofragments:upper115cm85cm; lower91cm115cm.P03002,P07186.

Lit by an otherworldly, silvery light, the saint stands gracefully poised against a background of stormy clouds that in some places seem to form a strange halo around him. The figure, artificially elongated to the point of almost complete implausibility, seems animated by the rhythmic pulsation of light and shadow. These typical features of El Grecos style respond to his artistic ideal, which sought to reconcile Florentine disegno and Venetian colorito. While the style of the Florentine and Roman Mannerists prioritized drawing, line, and shape and often produced cold, artificial-looking, archly elegant pictures, their Venetian counterparts preferred a less intellectual, more sensual approach based on the use of rich, vibrant colors applied with a complex layered technique. El Grecos firsthand knowledge of both schools of painting, gained during the years he spent in Italya defining moment in the development of his artistic personais evidenced in this painting.
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According to ancient traditions collected by Jacobus de Voragine in his Legenda Aurea (1264), Saint Sebastian was a third-century Roman soldier who served in the Praetorian Guard, one of the most prestigious units of the imperial army, at the time when the emperor Diocletian was actively persecuting Christians. Sebastians beliefs urged him to encourage others to die rather than renounce their faith, and that was precisely what Sebastian himself did when he was pressed to apostatize. Because of the way in which he was tortured (he was bound naked to a tree and shot with arrows), depictions of Sebastian afforded artists the opportunity to experiment with the aesthetic possibilities of the male nude as a subject. The Prados Saint Sebastian is an excellent example of El Grecos understanding of the nude. Rather than imitating nature, he reworks it to produce an intellectual, self-consciously artificial version of it; his purpose is to create a scene that belongs in the world of the artists imagination and he is not primarily concerned

It is not clear why the painter added a view of Toledo to the background of this religious scene, since Saint Sebastian was never said to have set foot in Spain; such apparently incongruous views of Toledo are found in other paintings, such as his Laocon (National Gallery of Art, Washington, dc). Exactly the same view appears in Saint Joseph and the Child Jesus (Toledo cathedral, chapel of St. Joseph) and Saint Martin and the Beggar (National Gallery of Art, Washington, dc). While no definitive explanation has been found, several hypotheses may help us understand the logic behind the choice of background in this particular case. It is possible that if the patron who commissioned the painting was from Toledo, he may have requested the inclusion of the familiar cityscape in the painting as a sign of identity, or perhaps symbolically to put his city under Saint Sebastians protection. However that may be, by placing the martyrdom scene in a location that was recognizable to viewers,
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During Riberas lifetime, Naples was a bustling port for trade and one of the most densely populated cities in Europe. The many trading ships from the eastern Mediterranean arriving every day in the crowded port were a vector for the transmission of infectious diseases, and that, coupled with the citys overcrowding, made Naples especially vulnerable to epidemics of the plague. In fact, the plague of 1656 was so devastating that it wiped out about half of the citys inhabitants and left a void in its artist population, as many of the best painters of that generation were prematurely killed by it. Since the Middle Ages, Saint Sebastian had been considered to be an intercessor against the plague, which made him especially popular in Riberas adopted city as well as in other places that fell periodic victim to the dread disease. It was the plague, then, that encouraged the Church and private patrons to dedicate churches and chapels to the saint, creating a demand for images such as this one. Riberas depiction of Saint Sebastian is steeped both in naturalism and in the idiom of classical antiquity, reflecting the aesthetic preoccupations characteristic of the Italian art of Riberas time. The composition, with the half-length body of the saint located in the foreground very near the spectator and the bottom edge of the painting, is reminiscent of similar images by Caravaggio. This composition allows the painter to focus his attention on the torso, whose volume and corporality are wonderfully realized, and which is illuminated by intense lateral light. However, instead of choosing a rough, everyday model for the saint, as the stricter tenets of Naturalism la Caravaggio would have dictated, Ribera envisioned his physique as reminiscent of that of a classical Antique statue. This change of aesthetic ideal is due to Riberas exposure to paintings of the Roman and Bolognese school, such as, for example,

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those of the painter Guido Reni. The proportions and anatomy of the saint are portrayed with academic precision, while the face, in spite of its idealization, is individual enough to present the saint as a real, believable person. This picture appears in a post-mortem inventory of Velzquezs workshop in the Alczar of Madrid, and it is clear that it must have been studied and admired by Velzquez.

The paintings and drawings of Ribera, who was also a prolific and expert draftsman, show his interest in depictions of violence and torture. This led some critical commentators of the past, especially non-Spaniards, to imagine him as a sadistic and cruel character, and even to extend this prejudiced opinion to Spanish art in general. However, on most occasions, such as in this example, the artist chose to portray a less dramatic moment, rather than capitalizing on the subjects potential and depicting a more brutal scene. In the case of the Saint Sebastian in the Prado collection (which is very similar to another by Ribera owned now by the Museo de Bellas Artes in Seville), only the arrows and the face turned upward introduce an element of violence into an otherwise serene and bloodless depiction of a male nude, in which lesser importance is given to the saints wounds than to the beauty of his anatomy. Here, the artist has preferred to emphasize the inner experience of Saint Sebastian as he quietly accepts his death and prepares to give up his soul and enter Heaven. Pablo Prez dOrs

decorated the title pages of New Testaments in early illustrated Bibles from the Middle Ages through the sixteenth century, but were rare by the time Zurbarn painted his version of the same subject. The most direct precedent is a Flemish print by the Wierix brothers, to which Zurbarn must have had access. (Religious prints by these Flemish artists were very popular in Spain, and were collected, and often used as models, by painters.) Taking that composition as point of departure, Zurbarn chose to enlarge the motifs of the globe and the cross, perhaps in order to emphasize the paintings theological and doctrinal content. Depictions of Jesus blessing with his right hand while holding an orb topped with a cross with the left are clearly symbolic, not matching any particular moment in the narrative of the Gospels. The orb stands for the universe, while the cross alludes to the Christian idea of redemption; therefore, the iconography visually represents the roles of Jesus as ruler and savior of humanity. At the same time, this iconography may have had a Eucharistic connotation, given that although perhaps not evident at first glance to us today, the position of Jesus hands would have reminded Zurbarns contemporaries of the gestures that priests celebrating Mass made during the Consecration, the same attitude in which Jesus is often depicted in representations of the Last Supper.

colors and casts strong shadows over them. The background of the painting consists of a dark, empty space, so that the viewer is presented with no distractions. This strategy helps concentrate the viewers gaze on the figure, while at the same time the golden glow around Jesus head accentuates the supernatural character of the representation and makes the experience of looking at it more akin to a vision than the contemplation of a painting. For all these reasons, this painting would have been appropriate for an individuals private contemplation, or for similar use in a monastic setting. This type of meditation, in which the devout man or woman concentrated on a painted image as a visual aid that might help stimulate an emotional response, was one of the many ways in which Spaniards of the seventeenth century interacted with religious images. Pablo Prez dOrs

of those who contemplate it. Our Lady is seated; the Christ Child is nude and standing on her knees, so appealing, so cheerful, and with such tenderness it stirs the soul.

Peter Paul Rubens The Holy Family with Saint Anne

1630.Oiloncanvas,116cm91cm.P1639.

Francisco de Zurbarn Christ as the Savior, Blessing

1638.Oiloncanvas,100cm72cm.P06074.

This is the only example known to have been painted by Zurbarn of the medieval iconography of Jesus as savior, making this canvas especially interesting to historians of art. Similar examples had
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Although the iconography is relatively unusual, the depiction of Jesus follows highly conservative conventions. He is shown as a young adult, dressed in a red tunic (the coat without seam mentioned in John 19:23) and blue mantle. There is an interesting contrast between Jesus hands and face: the fingernails and skin, somewhat weathered, have a natural, lifelike appearance, as though they had been observed from life, while the face and neck have an idealized, formulaic beauty and are painted in much paler tones. The beard and hair (which Zurbarn has painted with great care) and the facial features derive from Byzantine icons as well as from relics such as the shrouds kept in the cathedrals of Oviedo and Jan, among others, which were said to be direct imprints of Jesus true likeness and therefore treated with great respect by painters. As is usual in Zurbarn, a strong directed light brings into sharp focus the precisely-drawn contours of shapes and their plain, pale

Peter Paul Rubens, the Flemish Baroque artist, was also a humanist scholar, art collector, and diplomat. In 1628, Rubens went to Madrid to meet with Philip IV, King of Spain (16211665), as part of his efforts to negotiate a peace treaty between Spain and England, and during his stay the Flemish artist painted, among other subjects, portraits of the Spanish royal family. A patron of the arts, Philip IV was impressed with Rubens work and purchased more paintings by him than by any other artist, Spanish or non-Spanish. The Holy Family with Saint Anne was a significant painting in the royal collection, and it drew the attention of the preeminent Spanish artist Diego Velzquez (15991660). In addition to his role as court painter to Philip IV, Velzquez was responsible for decorating the royal residences. He selected Holy Family with Saint Anne to hang in the Priors Chapter Room in El Escorial, alongside masterpieces by Raphael (14831520), Titian (ca. 1490-1576), and others, including Rubens own Immaculate Conception, which the artist had painted during his stay in Spain in 16281629. This painting was included in Philip IVs inventory after his death in 1665. In the late seventeenth century, Francisco de los Santos (16171692) succinctly described this painting and its effects on the viewer: [Next to the vase on the right, another] painting of the same dimensions, an original by Rubens hand. The subject is also Our Lady with the Christ Child, Saint Joseph, and Saint Anne, the whole executed with such joy that it never fails to warm the hearts
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Marys dress is a vivid scarlet and her mantle is a rich cobalt blue. Mother and Child are emotionally connected through touch rather than the gaze. The Christ Child lovingly touches her bare breast with one hand while the other grasps her neck. She holds the Child close, with one hand on his torso and the other supporting his left foot. He looks toward the heavens while she looks past him into the middle distance. Saint Annes arms enfold the Mother and Child as she gazes upon her grandson. A bearded, older Joseph stares at his son with his chin in his hand, a look of wonder on his face at what he sees before him. The close proximity of the figures to each other and to the picture plane draws the viewer into the family circle. Since Rubens was known for his personal worship of the Madonna, it is likely that this work had personal meaning for him. Indeed, this painting is one of a series of images of the Holy Family that Rubens painted in the late 1620s and early 1630s. In the seventeenth century, Spain and other parts of Europe experienced a Catholic revival, also known as the CounterReformation, which was the Catholic Churchs response to the Protestant Reformation. The function of art in general, and devotional art in particular, was to stir the soul. To this end, Rubens sought a pictorial naturalness, one of the hallmarks of Baroque painting and sculpture. Moreover, in reaction to the artificial style practiced by Mannerist artists of the late sixteenth century, he sought to revive the classical tradition. The Holy Family with Saint Anne presents a synthesis of classical and Christian culture. The figures display harmonious proportions as they are tightly unified in time and space. Rubens employs a classical architectural setting for the figures, each of which expresses the highest Christian values of love and sacrifice. As Francisco de los Santos observed, in this painting Rubens created a captivating and intimate domestic scene whose emotional appeal derives not only from the figures interactions, but also from the physicality and sensuality of the painting.

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In the courts of Charles I in London (16251649) and Philip IV in Madrid, Rubens had come in contact with works by the Venetian artist Titian, whose paintings are characterized by two notable features: painterly brushwork and a complex layering of colors. Rubens studied Titians paintings and made a number of copies. The Holy Family with Saint Anne is an outstanding example of Rubens late works, from the 1630s on, which reflect this influence. During this period, Rubens figures are softly modeled with fluid, expressive brushwork. In all of its elements, from the fluent handling of the paint to the compact composition, The Holy Family with Saint Anne displays the High Baroque ideals of spontaneity and directness. In this way, Rubens brings these divine figures down to earth. Lisa Lipinski

while reciting the Hail Mary or Our Father underscores the rosarys symbolic nature here, and for Murillo. These holy figures are not engaged in prayer, but inspire piety on the part of the spectator, who might be kneeling in prayer while meditating on the mysteries of the rosary. A stone ledge elevates the holy figures and separates the viewer from them, emphasizing their significance and function.

Alonso Cano Crucifixion

ca. 16351665.Oiloncanvas,130cm96cm.P07718.

Bartolom Esteban Murillo The Virgin of the Rosary

16501655.Oiloncanvas,166cm112cm.P975.

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In earlier versions of the theme, the Virgin holds the Infant Jesus on her lap. In this version, Murillo changed the pose of the Christ Child, who now stands on his mothers lap, turning in contrapposto, with his left hand on her right shoulder and his other hand just visible in the shadow of his mothers face. With her right hand, she covers the child with a white cloth, a symbol of purity, and clasps the rosary. She holds him with a light but firm maternal touch. Murillos naturalistic figures communicate a spiritual message of love and sacrifice. The Virgin of the Rosary is a fine example of Murillos early style. The figures are painted with careful modeling to achieve solidity as well as grace and beauty. With her heart-shaped face, delicate lips and nose, and dark, limpid eyes, this Virgin is the image of holy loveliness. The artist employed a variety of brushstrokes to define textures. Thick strokes give solidity to the folds of red and blue drapery, while the diaphanous olive-green veil surrounding her head and one shoulder is created with a lighter touch of the brush. Mother and Child are brightly illuminated against a dark background, displaying the tenebrismo (the strong contrast of light and dark) characteristic of this period in the artists oeuvre. Murillo was a master of vibrant color: The Virgins saturated red dress is a striking complement to the brilliant blue mantle draped over her lap. The earliest record of this work is its acquisition by Charles IV in 1788. Murillo was a popular painter with the monarchs of the new Bourbon dynasty when the Court was based in Seville, and a number of his works were purchased for the royal collection. The Virgin of the Rosary may have been produced initially for a member of the upper-middle and professional classes of Seville, the city in which Murillo lived and worked all his life. Lisa Lipinski

The crucifix is probably the most characteristic image in Christian iconography, and it was certainly one of the most widely depicted and owned in the Spain of the Habsburg monarchs. Sculptures or paintings of Christ on the cross, in their many different forms, were used for private devotion in laypeoples houses and were displayed in nearly all churches and chapels of the time. Subjects related to the Passion, emphasizing the humanity of Jesus and his suffering, were central to Spanish spirituality in the Siglo de Oro. Painters and sculptors approached these scenes with the aim of stirring the emotions of the viewer, as did poets and preachers with their differing artistic means. Because of the public nature of religious manifestations at the time and seventeenth-century Spaniards widespread exposure to religious art, familiarity with images such as this one was inextricable, for most people, from the experience of devotion.

In 1836, the English critic John Ruskin lavished praise on Bartolom Esteban Murillos technique and identified the uniqueness of his approach: It is true that his Virgins are never such goddess-mothers as those of Correggio or Raphael, but they are never vulgar: they are mortal, but into their mortal features is cast such a light of holy loveliness, such a beauty of sweet soul, such an unfathomable love, as renders them occasionally no unworthy rivals of the imagination of the higher masters. Ruskins appreciation is a fit description of the particular Virgin in this marvelous example of a devotional painting by the preeminent seventeenth-century Spanish painter of Seville. In this work the artist creates a strikingly beautiful pair of figures whose serene poses and serious facial expressions project an aura of sadness without sentimentality. The Virgin is seated on a stone bench holding the Christ Child, who stands with one foot on his mothers left leg and the other on the bench. He is beyond infancy, tall enough to be at eye level with his mother. With their touching cheeks and physical connection, the figures display the most tender and heartfelt gesture of love. Together they look at the viewer with solemn and subtle expressions of devotion for the object of their gaze: the worshipful spectator. Murillo was a member of the Confraternity of the Rosary, a society dedicated to the worship of the Virgin Mary, and as a devotional painting, The Virgin of the Rosary was created to serve as a visual aid to a viewer engaged in praying the rosary. Indeed, the rosary is at the center of the composition. Both figures grasp it, and the fact that they do not finger the beads as one would do
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The Gospels mention that after Jesuss death took place, darkness came over all the earth (Matthew 27:45, Mark 15:33, Luke 23:44), and this painting follows the textual lead. In it, the drama of the crucifixion has already taken place, and the painter captures a moment that is not explicitly mentioned in the text of any of the Gospels: All those present at the crucifixion have left Mount Golgotha, and only the lifeless body remains on the cross. The scene conveys an impression of great loneliness, which is intended to affect the viewer emotionally and to elicit an empathetic response, an idea quite consonant with the religious literature and oratory of the time. The painting employs, then, a more subtle and psychological approach to meditation on the Crucifixion than the usual display of the gory physical consequences of Jesus scourging and the excruciating torment of the Passion. Instead of hinting at the narrative by showing the blood, wounds, and bruises on Jesus lifeless body, the artist chose to paint the twilight sky in the background in an ominous red tone, almost blood-red, as if the natural world were echoing the tragedy of his death. Cano depicted this subject on many occasions, experimenting with different possibilities until he reached stylistic maturity. Several similar paintings by him have survived, and a slightly smaller one in the Museo de Bellas Artes of Granada is particularly close to this version in scale, tone, and composition. Pablo Prez dOrs

Set against a dark, somewhat lowering crepuscular background, the pale body of Jesus, bathed in a supernatural light, seems to be glowing from within. The position of the head, dropped toward the chest, suggests that he is already dead, as does the wound on his right side. The way in which the lifeless body seems to be pulled down by its own weight has been carefully observed, and the overall effect of the anatomy is one of quiet gracefulness. The elegant position is enhanced by the iconographical choice of three nails, with one foot on top of the other, rather than the four prescribed by Francisco Pacheco, the Sevillian painter and theoretician with whom Cano and Velzquez received their training and whose models were used for many years by painters in the Sevillian school. Canos interpretation of the death of Christ emphasizes physical beauty, not deterioration or suffering; the balance between these two elements preoccupied artists at the time, as is evidenced in the writings of Pacheco himself.
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Real Presences Portraits

Tiziano Salome
ca.1550.Oiloncanvas,87cm80cm.P00428.

In the Gospels, the death of St. John the Baptist appears as a brief episode filled with cruelty and eroticism. The central figure in the story is the daughter of Herodias, the adulterous lover of Herod, the infamous king of Galilee during the Roman occupation. Herodias daughters name does not appear in the Gospels; it is the Romano-Jewish historian Flavius Josephus, in his Antiquitates Judaicae (Jewish Antiquities), who tells us what she was called. After Salome had danced at a banquet, presumably in an attempt to seduce Herod, in payment she asked for the head of John the Baptist, who had upbraided Herod about the immorality of his relationship with Herodias. The king agreed, and Salome was able to take Johns head to her mother on a charger, in macabre celebration of her vengeance (Matthew 14:111; Mark 6:2228).

Baptist, Salomes naked arms, and the transparent folds of the fabric that fall from her shoulders and back, which is left partly uncovered. Through this quite effective strategy, the painter manages to suggest the movements of the dance that Salome had performed before John was beheaded. A lock of hair from the severed head hangs off the silver platter at the top of the painting and brushes against Salomes left arm, a detail that contributes to the sinister yet sensual atmosphere of the painting, into which the viewer is invited by Salomes insolent over-theshoulder gaze. In her hair the young woman is wearing a luxurious diadem of gold, precious stones, and pearls to match the pearls twined in her hair and on her earrings. All these adornments, added to the orange silk dress, reflect the fashion of the upper class at the time the work was painted, but the provocative cut of the gown is incompatible with the modesty shown by the ladies of the aristocracy, and this detail seems to suggest Titians intention to characterize Salome as a Venetian court-lady of the mid-sixteenth century. (For all these reasons, it seems clear that the protagonist is Salom and not Judith, the virtuous heroine who cut off the head of the giant Holofernes and with whose portrayals there is sometimes a degree of ambiguity.) The fascination that Titian held for Spanish collectors has its origin in King Philip II, who preferred Titian over all other painters and was his assiduous client from the early 1550s until his death. The impressive provenance of this painting, which passed through the collections of Philip II of Spain and Charles I of England, highlights the role played by art at this time as a diplomatic gift between nobles and monarchs who were also avid collectors and connoisseurs of the arts. Pablo Prez dOrs

Pantoja de la Cruz, a disciple of Snchez Coello, with this mission. Pantoja, in turn, used earlier models to recreate the portraits. The likeness of the emperor presided over both galleries, the old and the new, and in the new gallery he was portrayed after the model created by Titian, a fact which shows that the official image of Charles V had been clearly defined, as had the role that the artists at court played in the transmission of this political image. In a society that did not prize originality as the modern world does, the use of copies and replicas was common, especially in the court workshops dedicated to the production of official portraits, and this copying in no way diminished the value of the art works. Pantojas signature on this canvas, indicating his role as translator, attests to the respect accorded the original, the personage who commissioned the copy, and the place in which it was to be hung.

to a degree, his features with those of the Roman emperors. He did this by using a beard, which helped disguise Charles protruding lower jaw, and armor, an essential element in the Austrian iconography. The medallion of the Virgin and Child and the ribbon of the Order of the Golden Fleece, a symbol of that medieval order of the House of Burgundy, even today the highest honor bestowed by the Spanish crown, express the emperors commitment to the defense of the Catholic faith in the vast territories of his empire. Pantoja created a portrait of fine technical facture, although somewhat lacking in expressiveness, which is in accord with the iconic and emblematic nature of the emperors image in the historical memory of the House of Austria. Judith Ara Lzaro

Alonso Snchez Coello Lady with a Fan

ca. 157073.Oilonwoodpanel,62.6cm55cm.P1142.

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Despite the fact that the Gospels are the source of the story of Salome, Titians painting cannot be considered a religious painting in the strict sense, as it was not painted to serve a devotional end or to decorate a sacred space. It is, rather, a more or less generic portrait that has been given the name Salome. Since the late nineteenth century, critics have been suggesting that Titian gave this Salome the physical features of his daughter Lavinia (although certain other critics have disagreed about this identification), but the treatment of the subject suggests that the painter was interested in exploring the idea of female beauty in generalwith its connotations of eroticism and at the same time morality rather than the observation and depiction of a concrete model. The iconography provides the canvas with a narrative element but also makes possible a suggestive juxtaposition of the ideas of lust, sensuality, and death, themes present in the literary tradition that had surrounded Salome since the Middle Ages. Titian chose a highly dynamic composition, which he structured around the diagonal formed by the head of John the
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Juan Pantoja de la Cruz Emperor Charles V (after Titian)

1605.Oiloncanvas,183cm110cm.P1033.

A fire in El Pardo Palace on March 13, 1604, destroyed the portraits in the Hall of Kings. These portraits had been painted by the finest artists of the time, including Titian, Antonio Moro, Alonso Snchez Coello, and Sofonisba Anguisciola. Encased in stucco frames attached to the walls of the gallery, which had been organized by Snchez Coello at the behest of Philip II, these portraits could not be saved from the fire as other paintings and objects in the palace were. Philip III, knowing the importance of this space as a symbolic site for the display of images of the monarchy, ordered the gallery reconstructed, charging Juan

Charles V (15001558) was the first-born son of Philip I of Castile (known as Philip the Fair) and Joanna I of Castile. As a very young man he inherited, on the maternal side, the kingdoms of Castile, Aragon, and Navarre and their Italian possessions, and on the paternal side, the dynastic territories of the Habsburgs. After his coronation as Holy Roman Emperor by Pope Clement VII in 1530 in Bologne, Charles won important victories against the Turks and the Protestants, and under his rule the empire expanded with the conquest of the territories of the New World. Titians achievement was to define a model that reflected both the physical features and the military power of the emperor, and that fused the rulers individual identity with the concept of imperial dignity that he represented. Thus, the full-length portrait of Charles V with his sword, scepter, and plumed helmet became the official image of power and the point of departure for an iconography of great importance in the House of Austria. This iconography would reach its fullest definition in the mid-16th century with the equestrian portrait of Charles V at the Battle of Mhlberg and that of Philip II, both now in the Prado. Titian accentuated the classicism of the emperors figure by fusing,
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In this half-length portrait, the lady is wearing a dark brown velvet overdress luxuriously ornamented with gold chain-stitched embroidery, slit sleeves, and a high collar open in front in the Flemish style. This is a notable example of Spanish portraiture during the reign of Philip II. To begin with, it is painted on a finegrained reddish tropical wood, mahogany perhaps, a support that was quite unusual in sixteenth-century painting. Another element that bears remarking is the folding Japanese-type fan the lady is carrying, a nod to the customs and portrayals of women from Portugal, where the first Oriental fans arrived in the late fifteenth century. The links by marriage between the courts of Madrid and Lisbon brought this accessory to Spain and other European capitals. Fans soon became a part of every noble womans vestments, as well as an instrument of courtship and flirtation and an indicator of social standing; they joined the traditional handkerchiefs and missals held by elite sitters for portraits. In this case, the lady is holding the fan in a somewhat strange and original way: she holds the base in her right hand and seems to caress it with her left, whose fingers, the two middle ones oddly crossed, are extended rather stiffly. One might ask whether this portrayal corresponds to some court formula of flirtation or courtship, some specific meaning, but for the moment this is no more than a hypothesis impossible to prove. The arrangement of the ladys arms, the fact that the right hand has been partly cut off, and the irregularities in the perimeter of the painting indicate that the work was originally larger, and possibly conceived as a seated portrait, similar to

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some images of ladies of the upper nobility painted by Titian (Empress Isabel of Portugal, 1548, Prado), Antonio Moro (Mary Tudor, Queen of England, 1554, Prado), and Snchez Coello himself (Princess Juana, Descalzas Reales). It may, in fact, be the portrait described in 1686 in the inventory of the small pieces in the vaultsa lady holding a fan painted on wood panelwhose dimensions were similar to those of the portrait of Mary Tudor painted by Moro (Prado, p2108) and the portrait by Titians studio of Philip II with an ermine collar (Prado, p452). In the inventory of assets included in the testamentary documents of Ferdinand VII, the work is attributed to Snchez Coello, at a value of 800 reales, quite high in comparison to other portraits (El Grecos Nobleman with His Hand on His Chest, for example, valued at 540 reales). Somewhat later, in the Prados general inventory of 1849, the subject of the portrait was identified as a Spanish infanta. She is probably one of the sisters of Philip II. This suggestion was ignored later, despite the fact that the ladys features are quite reminiscent of the characteristic features of the Spanish Austrians: the light eyes with circles under them, the bridge of the nose, the somewhat triangular chin, and the abundant, curly, reddish hair.

Santiago Morn Infanta Margarita Francisca, Daughter of Philip III

ca. 1610.Oiloncanvas,100cm72cm.P1282.

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The presence of portraits of children in the painting collections of the Spanish Austrians can be found all throughout the sixteenth century. In the 1570s this sub-genre became more highly developed at the hands of Alonso Snchez Coello, who painted the daughters of Philip III on several occasions, creating images which, while they reflected the girls growth, observed all the formal stereotypes of rigid court-portraits. Even when elements of childhood were incorporated, they actually only served to announce the future roles of the girls within the dynasty.

In the view of Stephanie Breuer, neither the technique nor the composition of the work reflects the usual characteristics of Snchez Coello, and Mara Kusche has attributed it to Flemish painter Rolan de Mois. On the other hand, Carmen Garrido, who studied the painting for the catalogue of the exhibition that the Prado dedicated to Snchez Coello (in which, however, the painting was not included), has praised the quality of the work and notes its technical parallelism with other portraits by this artist. Finally, a recent cleaning of the painting has cleared up many of the doubts as to its attribution, and the name of Snchez Coello seems most appropriate to explain the pictorial resolution of the head, which is quite descriptive and delicate in its handling, although this hypothesis cannot, of course, be considered conclusive. Leticia Ruiz
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During the reign of Philip III, the production of this type of works increased considerably. Numerous portraits of the large family of the monarch and his wife, Queen Margaret of Austria, were done almost as a matter of course. The fact that children often died quite young explains Margarets interest in having portraits done of her children even at such young ages. In this example, one of the kings last children, the Infanta Margarita Francisca, who would die at the age of seven (1610 1617), is portrayed at about the age of one, her hair pulled up into a topknot with a fetching curl and sitting on two scarlet cushions. The dark background, lacking any spatial elements that might distract the viewer, highlights the childs bright face and clothing and, on it, all manner of amulets and charms. These last constitute an armory of defense against the ills and illnesses that beset young children of the time, not least the evil eye and evil spirits. It was, in fact, evil spirits, and ear infections, that the little bell hanging from a long chain was supposed to ward off; the same effect was hoped from the elaborate gold rattle she holds in her right hand. The other amulets and charms are a badger claw set in silver, a chestnut, a sphere or orb, a reliquary medallion, and a thick circle or ring with silver findings. These

last three charms are of jet, a material which had been believed since antiquity to have magico-medicinal properties. It was used especially in Spain during the Middle Ages, when the jet-workers of Santiago fabricated amulets for pilgrims, and for centuries thereafter. In later times, it was used for children and women along with coral, the other protective element par excellence. It was no doubt due to the influence of the queen that these portraits of a superstitious nature were so frequent during the reign of Philip III, a concession to popular beliefs that remained in the culture for centuries, as shown by the extraordinary Portrait of Prince Philip Prospero by Velzquez (Vienna, Kunsthistorisches Museum, Gemldegaleries) and one of Goyas Caprichos, El de la Rollona, or The Nanny. It was Pedro Beroqui who identified the sitter for this portrait as the Infanta Margarita Francisca when he compared this painting with a group of four childrens portraits considered to be by Pantoja de la Cruz that were found in 1636 in a chamber within the vaults of the Real Alczar: her ladyship the Infanta Doa Margarita, seated on two scarlet cushions with a rattle in her hand. Pantoja was dead by the time this canvas was painted, which is why Allene-Salazar and Snchez Cantn suggest Bartolom Gonzlez as its author, a hypothesis taken to be correct in the Prado catalogues though recently questioned by Luca Valera, who found in the Palace Archives (Cuentas particulares, leg. 5.264) an account presented by Santiago Morn in 1613 and indicating a payment of 770 reales for a portrait of her ladyship Ynfanta doa Margarita with many amulets and charms and a bib and dressed in white silk seated upon scarlet cushions. This is especially interesting given that there are but few documentary references to this painter, and no portrait that can be conclusively attributed to him. In any case, the sequence of painters we have mentioned (Pantoja, Gonzlez, and Morn) simply reflects the persistence of formulaic court-portraits, even in the case of the most private family pictures. Leticia Ruiz

broadsword. There is a brocade curtain. It is by the hand of Van Dyck, a Flemish painter, with a gilded and burnished frame.

Anthony van Dyck Cardinal-Infante Ferdinand of Austria

ca. 1634.Oiloncanvas,107cm106cm.P140.

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An inventory from 1636 describes this striking portrait of the Infante Ferdinand: A half-length portrait, which the Marquis of Legans brought back, of the Infante Ferdinand in the dress and manner in which His Highness entered Brussels. He has a baton in his right hand. He wears a bright red velvet coat with gold trim, and a scarlet sash embroidered with gold, in which there is a
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The Cardinal-Infante was the younger brother of King Philip IV of Spain. At age ten he was elevated to the status of cardinal, a custom of the Holy Roman Empire. In 1631, he was designated to succeed his aunt, the Infanta Isabella. He left Madrid in 1632 to become viceroy of Catalonia. Upon Isabellas death on December 1, 1633, Philip IV appointed Ferdinand governor of the Spanish Netherlands. In early autumn of the following year, Ferdinand and his imperial army marched northward from Italy. They encountered the Swedish forces and defeated them at the Battle of Nrdlingen on September 5-6, 1634.This handsome court portrait of the Cardinal-Infante Ferdinand commemorates his celebrated entry into the city of Brussels on November 4, 1634. A contemporary description recounts the Cardinal-Infantes arrival in Brussels: He entered into the city with all his train of attendants, dressed in scarlet with gold embroidery, with a long smock or jacket of the same fabric, plumes, a red sash, and the ceremonial sword worn by his grandfather Charles V when he subdued the enemy at the Elbe, and now by His Royal Highness at the Danube; his hair long and a collar of fine lace covering his shoulders, a custom of the country and a part of the dress of a military officer; his presence noble, his complexion clear and white, and the down on his upper lip blond, a characteristic of his family, at twenty-one years and six months of age. The portrait documents a historic event and glorifies the Habsburg dynasty. The painting was sent home to Philip IV in 1636. It was hung in the royal palace, the Alczar, near a painting of the Battle of Nrdlingen. Ferdinand holds a field marshals baton in his right hand, emphasizing his military leadership. Tucked into his regal sash is the sword his great-grandfather Charles V used at the Battle of Mhlberg in 1547. The elaborate costume with its brilliant red and gold fabric is sumptuous and ceremonial, reflecting the importance of the Cardinal-Infante and his military achievements. In its prominent place within the Alczar, the portrait served as a reminder of the significance of the Habsburgs and their place in Spanish history. Philip IV and the royal family were not the only

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audience for this portrait of the Cardinal-Infante, as van Dycks painting was engraved by Pieter de Jode the Younger, Adriaen Lommelin, and John Payne, each time with Ferdinand facing the same direction, and several copies were painted, including one for Charles I and other English nobility. By 1630, van Dyck was in great demand as a portrait painter. To serve his illustrious clientele, which included European royalty and nobility as well as courtiers, diplomats, clerics, and scholars, in 163334 van Dyck set up his studio in Antwerp, the commercial and artistic center of the Spanish Netherlands. As the preeminent Flemish portrait painter, van Dyck was the natural choice for any political commission. He was known for his technical skills as a painter, his ability to capture a physical likeness, and his speed of execution. Van Dyck commonly worked on several portraits at once. In this case, his studio assistants likely painted the elaborate garments worn by the Infante, the background, and the brocade curtain, while van Dyck finished his magnificent head and graceful hands. After his assistants completed the figure, the Flemish painter worked over the whole surface, adding highlights and touches to the opulent gold and lace details. His signature style was influenced by his teacher Peter Paul Rubens methods and the color and painterly style practiced by the Venetian painters. Van Dyck was one of the first European artists to give psychological depth and naturalness to his portraits. The CardinalInfante appears as if he has just walked into the artists studio. His raised baton suggests movement and adds to the naturalness of the pose, which is both dignified and unaffected. The victorious aristocrat gazes at the viewer with somber eyes and soft lips, which convey a subtle expression of humility and thoughts we can only imagine. Lisa Lipinski

subject, or at least one of the central figures, and the variety of narrative contexts or situations they appear in is quite large. In some cases they are alone, but in others we find them in the company of other members of the court, and they often convey a significance that goes beyond the mere portrayal of their physical features. All this has presented those seeking interpretations with a wealth of possibilities, and in fact has given rise to theories ranging from those wanting to see Velzquez as an artist with an almost contemporary social conscience to those that, on the contrary, see these paintings as examples of the artists implacable objectivity. There are also narrative readings for every taste: some critics believe that these are simple portraits, while there are also those who are determined to discover some occult symbolism in them and refuse to acknowledge the mere portrait-nature of these paintings. But independent of the possibility that these canvases interpret by portraying, what is certain is that the features of the subjects in these works have a most realistic cast, and there is no reason whatsoever to doubt that they were indeed court-jesters. Indeed, this is not the only time Velzquez produced such a painting, as we see in The Buffoon called don Juan of Austria (Prado) and The Geographer (Muse des Beaux-Arts, Rouen).

Some think that the Prado portrait is the one known to have been done in 1644, and that it figures in the 1666, 1668, and 1701 inventories of the Alczar as portrait of El Primo, but in 1701, a portrait with similar characteristics appears in the inventory of the Torre de la Parada, and it appears again in 1714 in El Pardo Palace among the paintings transferred from the Torre. Thus, it is likely that the painting listed in the Alczar inventories has been lost and that the canvas now belonging to the Prado was done expressly for the Torre de la Parada sometime between 1636 and 1638 as one of a pair with, perhaps, Francisco Lezcano, The Boy from Vallecas (Prado). This is suggested not just by the information we have cited above but also by the fact that the figure is set in a landscape whose background contains one of the most identifiable peaks in the Sierra de Guadarrama, La Maliciosa. This is the same setting that appears in, for example, Prince Baltasar Carlos as a Hunter (Prado) and Cardinal Infante Ferdinand of Austria (Prado), both painted by Velzquez for the Torre de la Parada, a hunting lodge with the Guadarrama range as a backdrop. The Cousin was probably hung near a window through which La Maliciosa could be seen. Javier Ports

The monastery is the principal religious edifice of the House of Austria in Spain, constructed, among other purposes, to house the family burial vaults. At each side of the basilicas high altar were groups of sculptures portraying the Emperor Charles V, Philip II, and Philip IIs family and most direct line of descendants. The statues, done in bronze by the father-and-son Leonis (Pompeo and Leone), depict the figures in prayer and turned toward the great tabernacle under the altarpiece. Thus, they symbolize the Habsburgs perpetual worship and adoration of God and the Church. These groups are the clearest antecedent for the portraits of Philip IV and Mariana at prayer. It was, in fact, Philip IV who completed the construction of the Royal Pantheon, inaugurated in 1654. His association with El Escorial was, thus, very close, and even extended to the paintings and other art used in the buildings main spaces. The king sent some of the most important paintings in the royal collection to the sacristy and chapter rooms, where Velzquez supervised their hanging. In this setting, it is entirely logical that an artist, or royal client, might conceive images that testified to the constancy of Philip IVs religious constancy and fervor.

Diego Velzquez (and workshop) 14 & 15 Philip IV in Prayer & Mariana de Austria, Queen of Spain, in Prayer

Diego Velzquez The Buffoon Diego de Acedo, El Primo

ca. 16361638.Oiloncanvas,107cm82cm.P1201.

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One of the most distinguished components of Velzquez oeuvre is his gallery of buffoons (or, as we would generally call them in English, jesters), dwarves, and other men of amusement who entertained the king of Spain and his court in idle moments. Although Velzquez was not the only artist who portrayed these entertainers, none other, either before or after, approached the subject so often or with such unusual pictorial and narrative handling. In about a dozen canvases, buffoons are the principal
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Diego de Acedo, the supposed subject of this portrait, was a jester documented as having been in the kings service between 1635 and 1660. His occupations in the palace went beyond simply entertaining the court, as he worked in the royal post office and the office in charge of the seal with the royal signature. Certain other facts are known about his passage through the Alczar, such as that he had a servant and that in 1643 he became involved in a love affair that ended in murder. In 1644, he traveled with the king to Aragon, and we know that Velzquez painted his portrait during this journey. We do not know why he is called The Cousin; there are several hypotheses. The fact that he is surrounded with books and writingobjects, and that he is wearing a black suit (there is documentation of the gift of such a suit to him) led the figure in the painting in the Prado to be identified with this court-jester in 1872, although the identification is not considered conclusive.

This pair of portraits combines several aspects of Spanish portraiture of the Baroque period. In principle, the figures of Philip IV and his second wife, Mariana of Austria, are a continuation of the donor-tradition that goes back to medieval religious painting. The client would be incorporated, kneeling or prostrate in a reverential position, into the religious scene that he or she had commissioned; the portrait of the client manifested his or her devotion, but also his or her privileged financial and social situation. In these portraits of the monarchs, however, the supernatural element has been omitted. The two figures are individualized, life-sized, and in a luxurious setting of drapery, just as in any other court-portrait. The object of their adoration does not figure in the pictorial space, but is, rather, presumably located somewhere between the two portraits, given the figures symmetrical pose. That is, the portraits were part of a constructed scene that simulated the king and queens constant prayer before an image. This peculiar mixture of court-portrait and votive offering may be explained by the devotional customs of the House of Austria and, more especially, the place for which the portraits were painted: the Monastery of San Lorenzo el Real at El Escorial.
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14.PhilipIVinPrayer.ca.1655.Oiloncanvas,209cm147cm.P1220.

Although these paintings clearly came out of the artistic context of El Escorial in the 1650s, many unknowns surround their creation. For example, we do not know the exact place for which they were painted. They are traditionally identified with the portraits of Philip IV and Mariana that were inventoried in the monasterys Old Church in 1701. In the churchs decorative plan, which was designed by Velzquez, they would have been juxtaposed against the painted versions of the Leoni sculptures that had been done by Juan Pantoja de la Cruz. The funereal and dynastic nature of these canvases becomes even clearer if one realizes that until the Pantheon was completed at El Escorial and the sepulchers of the Spanish Austrians were moved there, the Old Church was where the Spanish monarchs were interred. In the final years of the reign of Philip IV, the walls were adorned with new paintings, but no description of the Old Church during those years speaks of these particular paintings. Therefore, that location may well have come later.

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15.MarianadeAustria,QueenofSpain,inPrayer. ca.1655.Oiloncanvas,209cm147cm.P1222.

Only a single source testifies to the presence of the portraits of Philip IV and Mariana at prayer in the monasteryspecifically in the Chapel of Our Lady of Patronage, which was founded by this king. Apparently they were two small paintings that still remain in the monastery, also by the Velzquez workshop. But once again, this information is long after the fact, since it was published by Antonio Rotondo in the nineteenth century. By that time, the original chapel had been dismantled and moved, and very little is known of its original appearance. Even so, the available facts and the portraits themselves allow us to reach certain conclusions, especially as to the portraits clear inspiration by prototypes created by Velzquez. The likeness of Mariana is directly related to the first official portrait Velzquez painted of her (Prado, P1191), which, in addition, hung in the palace area of El Escorial. It repeats the sophisticated hairstyle and clothing of the queen, whose farthingale is hidden by the prie-dieu. The image of the king is not so clearly related to any original by Velzquez, although the Velzquez air is undeniable. The functioning of the Velzquez workshop during his last years is problematic, although we do know that Juan Carreo, Francisco Rizi, and, of course, Velzquez son-in-law Juan Bautista Martnez del Mazo worked in it. Nevertheless, we cannot with any certainty attribute these two canvases to any of them. ngel Aterido

and dwarves that inhabited the Spanish court. Inventories show that the Alczar possessed a large number of portraits of this kind by Carreo, among which are the two of the Monster, as well as others that have unfortunately disappeared. The few that have come down to our own day show, at any rate, that Carreo approached these individuals as Velzquez had, seeking to dignify their image as much as possible. The name of the girl depicted in this painting is Eugenia Martnez Vallejo, and she was born in Brcenas. In 1680, she was brought to court to be admired as a monstrous manifestation of nature. She was six years old at the time, and already weighed almost 70 kilos, or 154 pounds. She probably only attended celebrations and gatherings in the palace in order to be seen by the royals and their guests, for according to Jos Moreno Villa (who found no financial accommodation for her in the palace records), she appears not to have been a part of the service-class at court. In that same year of her arrival, Juan Cabezas published his True Relation in Which Notice is Given of a Great Prodigy of Nature That Has Arrived at This Court, in the Person of a Giant Girl-Child Called Eugenia, Born in Barcena [sic], in the Archbishopric of Burgos. The publication was illustrated with a woodcut and republished in Seville and Valencia. Through Cabezas we know that Charles II commissioned the second Apelles of our own Spain, the famed Juan Carreo, his painter and aide-de-chambre, to paint a portrait in two manners, one nude and the other in fine dress.

they and her Thighs have such rolls of flesh that they ride one upon the other with shocking monstrosity, and although the feet are in proportion to the Edifice of flesh they sustain, the result is that they are almost like those of a man. She moves and walks with some effort, due to the inordinate greatness of her body. Which weighs five arrobas [125 pounds] and twenty-one pounds, a thing unheardof at such a young age. In 1941, Gregorio Maran pointed out that this young girl represented the first known case of hypercorticism, and also that from the girls decisive grasp on the fruit in the portrait of her clothed, she must be left-handed. To show Eugenia naked, Carreo employed an approach extremely rare in Spanish painting: the mythological portrait. He placed the girl against a neutral background and had her lean on a pedestal laden with bunches of grapes; he crowned her with grape vines with the leaves and fruit and in her left hand had her hold another bunch of grapes, whose leaves covered her sex. Costumed, then, as Bacchus or Silenus, Eugenia lost much of the freakishness of her appearance and could almost have been confused with a depiction of Bacchus as a child. It is possible that the two paintings of Eugenia were still unfinished upon the painters death, though he kept them in his workshop until the end, in 1685. The nude, along with the other painting of the pair, The Monster Dressed in Finery, was in the royal collections until 1827. After being taken to the Alczar (inventories of 1686 and 1694), it went to the Zarzuela Palace, where it appears in the inventory taken in 1701. In 1827, the Monster Dressed came to the Prado, while according to Pedro de Madrazo, the nude was given as a gift by Ferdinand VII to artist Juan Glvez. Glvez must have sold it very soon after to the Infante Sebastin Gabriel, in whose possession it was by 1843. Upon the Infantes death, the painting went to his eldest son, the Duke of Marchena, and it was later (at an uncertain date) purchased by Jos Gonzlez de la Pea, Baron de Forna, who in 1939 donated it to the Prado, making it possible for the two portraits to be reunited. Jos lvarez Lopera

dandies-with-attitude of the late eighteenth and early nineteenth century), but more refined and costly: an embroidered smockcoat, a vest, lace at his collar and cuffs, knee breeches, a sash at his waist, a handkerchief, his hair in a net, and slippers with silver buckles. Beside him, a typical round hat with its braided hatband completes the effect of a combination gentleman-majo that he has striven to produce. The setting for the portrait is the artists own studio, where objects for inspiration and the elements of the craft lie about, all presented with admirable precision and detail: classical busts, a palette and brushes, an inkwell and plume, portfolios for drawings and engravings, maps, and books, and as a backdrop a great oval canvas depicting a shipwreck. This canvas rests on an easel whose upper part is half-hidden under rich draperies.

Juan Carreo de Miranda The Monster, Nude, or Bacchus

ca. 1680.Oiloncanvas,165cm108cm.P2800.

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After the death of Velzquez, Carreo showed himself to be the artist most worthy of continuing the depiction of monsters, jesters,
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The description of Eugenia written by Cabezas could not have been more sympathetic, showing how far Carreo must have gone to infuse some degree of dignity into her enormous figure: She is white and her face is not terribly unpleasant, although very large. Her head, face, neck, and other features are of the size of two mens heads, or thereabout. Her stature is that of an ordinary woman, but her massiveness that of two women. Her belly is so vast that it equals that of the largest Woman in the World when she is within days of giving birth. Her Thighs are so very thick and fleshy that they ride one upon the other, and they conceal from sight her private parts. Her legs are little less than the Thigh of a man, and

Luis Paret y Alczar Self-Portrait in the Artists Studio

ca. 1786.Oiloncanvas,39.8cm31.8cm.P7701.

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The family of this celebrated Madrid artist was originally French, and his own aesthetic roots lie outside Spain. In this self-portrait we see him sitting in a chair with cabriole legs, dressed in sumptuous elegance. He is wearing clothes similar to those worn by the majos of Madrid (those somewhat bohemian
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No oval painting by Paret that might correspond to the one in the portrait has thus far been identified. That fact, combined with doubts about the painters physiognomy, led critics to question from the first moment whether this was truly a self-portrait. However, a ship similar to the one in the painting-within-apainting, and even with the same ensigns, appears in a portrait of a naval officer done by Paret. The ship-motif may be related to the shipwreck of the San Pedro de Alcntara, which sank at Peniche, off the coast of Portugal, on February 3, 1786, and which Paret may have known about. It is possible that Paret painted or sketched a canvas depicting the shipwreck, perhaps on commission. This self-portrait, presented in a setting that defines an entire cultural milieu, may evidence the painters desire to be seen as a worthy and respectable art professional of humanistic culture; that is, it may be a sort of manifesto of the principles that govern creation, including the fundamental need to possess a solid educationthus explaining the visual references to the wise men of antiquity, scholarship, and geography. Parets pictorial strategy of portraying himself in a moment of reflection, or perhaps of inspiration, rather than in the act of painting, emphasizes the intellectual nature of the painters work. All of this necessarily implies for the artist a distinguished place in society, which is indicated more overtly here in the portrait in the magnificence

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of his clothing, clearly that of the upper class. It is also possible that Paret tried to express this social superiority in the portrait of his wife, Mara de las Nieves Michaela Fourdinier, also in the Prado collection (p3250), in which the lady makes a great show of luxuryluxury, indeed, in all probability above the couples financial possibilities. The precedent for the artists pose, with his cheek resting lightly on his hand, is the traditional depiction of Melancholy, one of classical antiquitys four humors or types of personality. The melancholic cast of mind was perceived as one of the typical traits of an artist, making him a special being, somehow separate from the rest of society (though here in clear dissonance with the elegant and fashionable clothing and Parets general worldliness, which we know of from his biography). This detail, more aesthetic than real, might be interpreted as a touch of preRomantic sensibility. Juan J. Luna

contrivedalthough paradoxically, it is clear that both her attire and the presentation obey social and pictorial conventions. All this, combined with the somewhat cool gray-green tones of the picture and the inexpressiveness of the ladys face, in contrast with the great care taken with details such as the lace and embroidery on the dress and the coat of arms, have suggested to some the hand of another of the favorite portraitists of the House of Osuna, Goyas friend Agustn Esteve (1753ca. 1820), with whose pictorial technique there are unquestionable similarities here. Still, in 1786, Goya had painted his splendid portrait of the Marquesa de Pontejos (National Gallery, Washington, dc), which has similar characteristics, although the latter is a canvas of evident originality and brilliant technique, revealing a profound character study of the young subject.

Francisco de Goya Portrait of Ferdinand VII in a Military Encampment

After1815.Oiloncanvas,207cm140cm.P740.

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Several portraits of Ferdinand VII are attributed to Goya, though only a few have sufficient quality to be considered fully his own work. Furthermore, there is no accurate documentation of the portraits of a monarch who chose Vicente Lpez to be the official portraitist over Goya. It is, however, clearly documented that Goya, as first court painter, did an equestrian portrait that was one of the first done of the new king; this portrait was commissioned in 1808 by the Real Academia de San Fernando, which still owns it today. Perhaps Goya, as he had done earlier for the official portraits of Charles IV and Mara Luisa de Parma, did a life-study of the new king that allowed himand perhaps his collaborators to produce the numerous portraits sought from him by institutions and private citizens.

Francisco de Goya Tadea Arias de Enrquez

ca. 1789.Oiloncanvas,190cm106cm.P740.

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the painting figured for the first time, Pedro de Madrazo notes that the portrait was at the time the property of Maritegui. The School of Highway Engineers was founded in 1802 by Charles IV; its offices were in El Retiro Palace, but were later moved to the Old Customs House, in the Plaza de Lea, where they remained until 1847. Its first few years were difficult: it ceased to operate during the War of Independence and it closed in 1814, reopening between 1820 and 1823. It would be important to know the exact purpose for which this portrait was painted, in order to explain the scene portrayed in it. Given that it follows the general lines of the portrait of the king in royal robes, which was painted in 1815, it must be of a later date, but during those years there were no military actions that might justify portraying the king in a military encampment. On the other hand, the military nature of the highway engineers, who laid down roads, inspected fortifications (and rebuilt them if necessary), and produced maps, might explain the iconography in the background of the painting, with engineers going about their work. Maritegui was the captain of engineers from 1815 to 1826, during the reign of Ferdinand VII, and it is probable that the painting was commissioned during the first years he held that post. Manuela B. Mena Marqus

This portrait presents the lady at full length, dressed in the fashion of the time in a tulle gown with lace details. Goya perfectly captures the translucence of the fabric, through which we see the shimmer of the pink skirt the sitter wears underneath. At her waist the lady wears a wide black tulle band, which is also semi-transparent, and on the waistband she has pinned a lovely cameo brooch. Her hair, its abundant dark curls falling over her shoulders, reflects the French fashion of the moment, and her attire is completed by pointed-toe slippers with silver decorations and lambskin gloves, whose supple texture Goya has masterfully captured. Goya presents his model as though the viewer had come upon her in the act of pulling on her right glove, a detail that gives the portrait a relaxed and informal air and has the effect of bringing us into her world. These were qualities for which Goya was very much appreciated as a portraitist, and which he had learned from his English contemporaries, whose work he would have been familiar with through prints. Another English touch is the idea of portraying her in a garden, which forms the backdrop of the painting. Behind the lady we see a large marble urn with a coat of arms, and farther back we have a glimpse of cool foliage, with the grayish-green of the trees and plants. The natural setting in which the lady is framed, combined with her attitude and pose, persuades us to see her beauty as fresh and spontaneous, rather than artificial and
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Identification of the lady in this portrait was made possible by the very detailed coat of arms in the lower left corner of the painting. She is Tadea Arias, who was born in Castromocho, Palencia, in 1770. She married Toms de Len, a captain who had retired from the American Regiment, and when she was widowed she took a new husband in 1793: Pedro Antonio Enrquez y Bravo, a captain in the infantry and a counselor-for-life in Vlez-Mlaga, where the couple made their residence. Tadea was widowed yet again, and again remarried, this third time to Fernando Villanueva y Pardos. The coat of arms, of the house of Aras joined to the house of Len, indicates almost certainly that the portrait was done during Tadeas first marriageperhaps, indeed, specifically for that occasion, which took place in 1789. Her first husband had belonged to one of the Duke of Osunas regiments, and his brother was the administrator of the Duchess of Jabalquintos familys assets. Pedro de Alcntara Tellez Girn y Beaufort Spontin (1810 1844), tenth Duke of Osuna and possessor of more noble titles and rents than any other person of his time, was one of Goyas most important clients, and that may explain the connection between Tadea Arias, a member of the lesser nobility, and Goya. Manuela B. Mena Marqus

Among the portraits of the new king painted by Goya, the finest is unquestionably the Portrait of Ferdinand VII in Royal Robes (Prado, p735). It is from this portrait (painted after the War of Independence upon the kings return to Spain) that Goya copied both the head on the Portrait of Fernando VII in a Military Encampment and the position of the kings legs, although here the king is wearing the uniform of a captain-general, with three gold braids on the cuffs of his jacket and on the royal-red sash. On his chest, the king wears the ribbon of the Order of the Golden Fleece and the sash and cross of the Order of Charles III. We do not know the exact date this portrait was commissioned by the School of Highway Engineers, from which institution it entered the Museo de la Trinidad. The commission was proffered by Francisco Javier de Maritegui, chief architect of the City of Madrid and captain of the Corps of Engineers, who would later be the father-in-law of Mariano Goya, the artists grandson. Interestingly, in the 1876 catalog of the Prado, where
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Everyday Poetry Still-life Paintings

Juan van der Hamen y Len 20 Still-Life with a Basket and Sweetmeats
1627.Oiloncanvas,84cm105cm.P07743.

Although as a genre, bodegones, or still life paintings, were considered inferior to religious scenes, history painting and portraiture, they were very popular in Early Modern Spain. Following earlier models, van der Hamen developed a distinctively Spanish type of bodegn characterized by its austerity and the presence of a few everyday foodstuffs arranged with strict geometrical symmetry. This type of composition was subsequently imitated by many other painters, as van der Hamen was the most important and successful still-life painter in Madrid during the first third of the seventeenth century. Unlike religious paintings, whose principal purpose was to transmit a specific message and affect the viewer in a particular way, bodegones were appreciated first and foremost for their decorative character. Therefore, they were hung in dining rooms and sometimes in less prominent locations such as the spaces above doors. Some still-life paintings, such as this one, also reflect on the social customs of the time: Seventeenth-century Spaniards were fond of receiving visitors at home, and would offer their guests a variety of preserves, pastries, and luxury products such as perfumed waters and chocolate brought from the Indies.

side. The two boxes made of thin wood are of a type that would probably have been used to keep hard fruit preserves, such as membrillo (quince paste). The translucent quality of the candied oranges, lemons, plums, figs, and carrots is masterfully rendered, and the sparkling touches on the highlights of the brittle frosting are one of van der Hamens trademarks. Among the other foods represented are cakes and buns, pastas (biscuits), and rosquillas (small hard doughnutlike pastries). Treats such as these evidence the Moorish influence on Spanish culture; recipes for these and similar foods appear in medieval Arab cookbooks and can still be found in the north of Africa. Small barrels like the one on the right would have been used to keep arrope, a type of grape jelly, and the round glass jars with paper lids tied with string seem to contain cherries preserved in syrup or liquor. The way in which van der Hamen suggests the various textures, such as the smoothness of the round glass or the brittle quality of the frosting on the fruits, is one of the skills that made his reputation. Still-life paintings were often done in matching pairs or larger series. The present painting was conceived as one of a pair, its mate now to be found in the collection of the Banco de Espaa. Besides having the same dimensions, the overall scheme of the compositions and the weight of the different volumes in the two canvases are identical, and some elements are designed to rhyme with one another, such as the candied carrots pointing inward in one canvas and outward in the other. This is one of van der Hamens most accomplished paintings, and it was an important landmark in the development of the still life in Madrid. Pablo Prez dOrs

one on top broken into pieces. To complete this delicious-looking composition Hiepes has painted three small pastries (bread, perhaps, or perhaps some sort of stuffed pastry), one with the top dusted with sugar, arranged between the two plates. The surface on which this splendid array of dessert temptations is displayed is extraordinarily simple in comparison with the complex grouping: a flat pastry-board painted a shade of red, perfectly four-square and unadorned but vigorously highlighted against a dark background, bringing all the stars of the painting into sharp relief and seemingly even closer to the delighted viewer hypothetically contemplating the painting, delighting in its exceptional sense of reality.

he was linked rather closely to this branch of gastronomy, since his sister, Vicenta, owned a pastry shop in Valencia, a city known for its love of all types of sweets. Juan J. Luna

Mateo Cerezo Kitchen Still-Life

ca. 1665.Oiloncanvas,100cm127cm.P03159.

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Toms Hiepes (or Yepes) Sweets and Nuts on a Table

n.d.Oiloncanvas,66cm95cm.P07914.

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Van der Hamen chose several different objects because of their similar shapes and sizes and their contrasting textures and colors, and he arranged them in a rectangular space that was meant to read as a window sill or a fresquera, a recess in the stone wall of a pantry that was used to keep food cold. The hard geometry of the space is softened by several nicks and imperfections on the ledge, which also add verisimilitude to the composition. A strong light, coming from two different directions, creates a strong contrast between light and shadow. All the elements are arranged architecturally, as is typical of van der Hamen, with a larger and taller element at the center flanked by smaller elements on either
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The composition of this still-life follows a strict geometric schema, in the manner of Juan van der Hamen. Two baskets and two metal plates flank a dark bottle in the center of the painting, marking the main axis of symmetry around which the composition is organized. One of the baskets contains a mound of hazelnuts and chestnuts with smooth, shiny skin, both nuts associated with autumn. The basket on the right is filled with rolled wafflelike pastry cones in a similar mound or heap. Toward the front, on the silver or pewter plate, we see pieces of turrn (a nougat candy) of different kinds, one with whole hazelnuts and another, generally called Alicante, with sliced and ground roasted almonds, and resting atop them, a large ring-shaped pastry. On the right, another metal plate holds a half-dozen flat tortes, the

The rich and diverse colors of the painting, and its lighting, which produces considerable chiaroscuro, demonstrate Hiepes mastery in differentiating the tactile qualities of the foods, which are clearly and quite suggestively identified in their individual characters, and thus bearing witness to the spectrum of pastries in traditional Spanish cuisine. Javier Ports notes that the appearance of the coat of arms of Valencia on one of the waffle-rolls and the piece of turrn in the lower left corner of the painting seems to indicate a Valencian origin for this canvas, whose style and composition are characteristic of Hiepes early career. Not only the shape and weave of the baskets but also the role played by the dark bottle in the composition remind us of another of Hiepes works, the Kitchen Still-Life (P03202), which has similar details. Van der Hamen was the first painter in the court at Madrid to popularize still-lifes with sweets and pastries, and their wide acceptance allows us to deduce potential clients interest in owning canvases of this kind. The fact that Hiepes created works of the same kind may indicate that he was familiar with the work of van der Haman, whose formulas he would have wanted to follow (thinking of their commercial success), or might indicate the interest on the part of Hiepes Valencian clients to own paintings of a kind that had become so desirable among members of the court. However that may be, one can also see in Hiepes special dedication to this genre a nexus with his personal history
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A profusion of cooking utensils and hearty meatsgame birds fresh from the hunt and not yet dressed, a recently-killed lamb, a calf s head, and other cutsare laid out on a work surface, as if the painter had found them thus in a kitchen, awaiting the preparation of a meal. The apparent disorderly informality of the paintings composition gives it an air of immediacy and lifelikeness, but is in fact the product of Cerezos careful reflection. For example, the impression of homey chaos is created by the paintings asymmetry and the presence of many diagonal linesthe lambs leg, the knife, the wooden spoon, and, at the rear, the black handle of an iron skillet. The elements seem to be arranged haphazardly, but each is in fact carefully placed, so that shifting any one would destroy the general balance of the composition. Although it does not stand out, the small plinths on top of which the oil bottle and the calf s head rest would have been an unusual architectural feature in a real kitchen; they are probably a clever trick used by the painter in order to build the composition upward. Adding height would allow him to add more objects, which would be impossible if they were all on the same surface.

The vegetables and other foods shown in Spanish still-life paintings of this period are sometimes meant to represent a month or a season, often as part of a series of four or twelve paintings illustrating the cycle of the year. This particular painting is not

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known to have had any companions, but it does contain several elements that allow us to associate it with a particular season. Generally, lambs were allowed to grow and fatten during the summer months and killed in the autumn, around the same time of the year when the woodcock next to the bread roll would have been hunted. The meal being prepared might be a hearty stew, with different types of meats cooked over a fire with the onions and dried peppers we see in the center of the painting and seasoned with the spices in the twist of paper in the foreground. The salt pork or bacon to the right of and slightly above the lambs head was used to add flavor and fat to the dish. This type of cookery is still found in some regions of Spain, as are some of the copper cooking utensils in the painting: the wide, shallow skillet with rings for holding it is very much like the common paellera. The warm, earthy tones of the picture and the way in which Cerezo handles his paint reveal his admiration for painters of the Venetian school, especially Titian. Venetian paintings of everyday subjects had been popular in Spain since the late sixteenth century, when the work of the Bassanos was imported and imitated. A Neo-Venetian style, whose main practitioner was Juan Carreo de Miranda, was very much in vogue in Madrid when Cerezo arrived there. More specifically, the influence of Antonio Pereda (16111678) can be felt in details such as the strong chiaroscuro and the rich impasto of Cerezos still-life paintings. The fact is, the connections between the two artists are so close that some confusion has arisen over the authorship of some paintings, and the Kitchen Still-Life, which is considered the work of Cerezo today has in the past been attributed to Pereda. Pablo Prez dOrs

genres, required rigorous artistic discipline, suited his aesthetic goals, and provided a means toward a deeper meditation on the relationship between visual perception and the human body.

Luis Egidio Melndez Still Life with Watermelon, Pastries, Bread, and Wine
1770.Oiloncanvas,35cm48cm.P915.

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Luis Melndez distinguished himself as the greatest bodegn, or still-life, painter in late eighteenth-century Spain. By this time, the popularity of the genre had declined in Spain and was not practiced by any of Melndez contemporaries at court. Even so, Melndez painted over one hundred bodegones in his lifetime, leading art historians to infer that he took a personal interest in the subject. He was unsuccessful in finding royal patronage for history paintings and portraits, so still-life painting offered an alternative genre that could be pursued for the general market. As Melndez no doubt discovered in the process of painting this body of work, still-life painting, despite its lowly status within the hierarchy of
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Between 1759 and 1774, Melndez painted 44 still-lifes for Charles, Prince of Asturias (the future Charles IV), many of which are now in the Museo Nacional del Prado. Still Life with Watermelon, Pastries, Bread, and Wine was once part of the royal collection in the Aranjuez Palace, a gift by Melndez to Charles and his wife Mara Luisa of Parma. In 1771, Melndez received a commission to continue his series of still-life paintings on the theme of the natural history of Spain for the princes Gabinete de Historia Natural, or Cabinet of Natural History. Still Life with Watermelon, Pastries, Bread, and Wine displays the hallmarks of Melndez approach to the bodegn. A few objects occupy an old wooden table whose edge runs parallel to the picture plane. Dripping with juice, the luscious red watermelon is the focal point of the composition. Like the majority of Melndez still-lifes, the objects of this composition occupy an indoor space. Light falls from the left, illuminating the freshly cut watermelon surrounded by four azaroles (an edible Mediterranean fruit which resembles a tiny apple), three pastries, a loaf of bread, and a glass of wine. The black background provides a strong contrast with the pastries and bread, intensifying their color and material presence. Within a narrow range of object choices, Melndez created an endless variety of original works. Still Life with Watermelon, Pastries, Bread, and Wine is one of only three paintings featuring cut pieces of watermelon as a focal point, while a similar type of cloth appears relatively often in baskets, though rarely as it is displayed here, under the melon. The distinctive conical pastries appear in the foreground of Still Life with Pastries, Jug, and Receptacles, which may have been painted after this work. The ceramic plate from Talavera, with its characteristic undulating rim (popularly called a plato de castauela [castanet plate]), is found in several of the artists other canvases. In this work, Melndez continues the tradition of the early seventeenth-century still-life, with an objective rendering of the fruits, bread, and wine glass using chiaroscuro, a balance of light

and shadow, to create a naturalistic image. With the exception of a few highlights, the brushwork is nearly invisible. Each object is carefully delineated with sharp contour lines. Melndez labored over his compositions, sometimes changing objects or their positions to produce harmony and balance. Originally, this painting included chestnuts and a wine bottle. The low viewpoint and the scale of the objects within the frame give the sensation that the objects painted are within reach not only of our eyes, but also of our fingers. Folds of the cloth project into our space, a common device in still-life painting. Nearly hidden in the shadow of the watermelon is a knife, whose blade is barely visible. The melon appears so recently cut that the fruit retains its chromatic vibrancy. Beside the single seed, a drop of juice lies on the top of the cloth. Melndez uses all his skill to convince the viewer that these delectable foodstuffs are within reach not only of our gaze, but also of our touch. As we are looking at the object, we imagine how it would feel not just on our fingers, but also on our tongues. Through vision, we can imagine tasting the sweet succulent flesh of the watermelon or taking a sip of the red wine. Lisa Lipinski

hues, a cool spectrum is brought into harmony with violets and pinks, which, with the brushwork, produces the effect of glints and gleams, shimmering iridescence, and delicate transparencies on the petals. The firm, precise self-assuredness of the drawing is also noteworthy, as is the compendium of small, masterful details. All of this leads one to think that the painting belongs to a mature phase in the artists careerthe period, perhaps, when he was achieving his first successes in Bilbao, around 1780 or a little later, when he received the commission to paint the port cities of Cantabria, though no exact date can be conclusively determined.

Luis Paret y Alczar Bouquet of Flowers

ca.1780.Oiloncanvas,39cm37cm.P01042.

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This painting was purchased by Charles IV for his personal collection, but was later transferred to the royal collections. Its facture and composition are similar to those of the works of French painter Michel-Nicolas Micheux (16881733), in the vein of an elegantly decorative Rococo style that was, however, about to be displaced by an all-conquering Neoclassicism that swept away all forms of the Baroque. The works pleasant, light-spirited, and beautifully decorative formulation is much more reminiscent of the broad field of flower-painting during the reign of Louis XV (17151774) than of the Spanish school of the time in which it was possibly created, during the last decade of Charles III (17591788). All in all, this is a well-conceived and skillfully executed work. The excellent pictorial quality and unquestionable effects achieved within such limited dimensions bear witness to the painters gifts of observation. The slightly elongated oval shape of the painting makes this piece (and its companion-painting p01043) quite unusual, a condition underscored by the mix of flowers themselves: roses, tulips, lilies, and carnations, among others, tied by ribbons in brilliant tones of blue. In an exquisite combination of colors and
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This type of floral creation is characteristic of a time that was not as interested as was the preceding Siglo de Oro in reflecting the ephemerality of the things of life, and therefore burdening all images with a heavy load of symbolism. On the contrary, this painting evidences the moments taste for decoration. Not for nothing did many of these floral motifs inspire those who applied enamels or introduced porcelain inserts into fine furniture of the time. Far from the spectacular showiness indulged in by many of his foreign contemporaries, who prided themselves on their luxuriant groupings, Paret preferred a finely detailed style, handled with simplicity and grace. This work also reflects a tendency to transmit the particular qualities of the elements of the piece, as well as a taste for soft contrasts of light and shadow as a way of strengthening the volumes and creating an atmospheric quality that adds to the verisimilitude of the composition. Juan J. Luna

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Biographies
Alonso Cano Granada, 1601-1667 The case of Alonso Cano is unique among seventeenth-century Spanish artists in that he was first and foremost a draftsman and designer, working with equal success as architect, sculptor, and painter. His earliest experience with art must have taken place at home, since his father designed and carved altarpieces and choir stalls. The family moved to Seville, and when Alonso was fifteen years old he entered the workshop of Francisco Pacheco, where he overlapped with Velzquez for a few months. From early on he showed a fascination with the beauty of the human form and a facility for portraying movement and foreshortening. He was called to the court in 1638 by the Count-Duke of Olivares, Philip IVs all-powerful prime minister (who liked to favor artists who were fellow Sevillians), and he collaborated in the decoration of the Buen Retiro palace and the Alczar. His artistic production in Madrid evidences his study of the royal collections and also his awareness of the work of the court painters. Cano had to leave Madrid in 1644 after his wifes murderhe was accused of the crime but even though tortured, managed to prove his innocence and he moved to Valencia for a few months. Back in Madrid, he was employed on the decorations for the celebrations surrounding Philip IVs marriage to Mariana of Austria. During these years, Cano evolved from the heavier, more monumental compositions that he had learned in Seville to schemes that were more graceful, dynamic, and Baroque, and he also began to favor lighter and more transparent colors. The artists life took another turn in 1651, when he moved back to his home city of Granada with the idea of taking holy orders and becoming a canon at the cathedral. While trying to secure his position at the cathedral (which he did, in 1652), he worked on numerous projects there, and also for other churches, monasteries, and convents in that city, especially those belonging to the male and female branches of the Franciscan order. In 1660, after a stay in Madrid and Salamanca during which he was ordained a priest, he was reinstated as canon in the cathedral in Granada and finished his series on the life of the Virgin for that church. A few months before his death he was also appointed maestro mayor (chief architect) of the cathedral, and he designed its faade, which was built posthumously. Pablo Prez dOrs century, when he produced works for a good number of churches, convents, and monasteries in Madrid. In many of these places, one can see his talent as a fresco-painter, a rare specialty among Spanish painters, but one explained in the case of Carreo and his colleague Francisco Rizi by their contact with Italians Angelo Colonna and Agostino Mitelli. In 1669, Carreo was appointed painter to the king, and he worked mainly as portraitist to Charles II and the regent, Mariana of Austria. In this post, his career was both brilliant and original: He continued the formulas of courtportraiture, especially those seen in the works of Velzquez, yet made subtle innovations both iconographically and artistically. We should remember, in this last respect, that Carreo was a painter profoundly influenced by the Venetian school and by Flemish compositions. He employed a warm palette rich in tonalities and nuance, the paint applied lushly, with a light, loose brushstroke. In addition, the refinement and distinction with which he constructed some of his portraits suggest a connection with the work of Rubens and, especially, van Dyck. In that regard, his most brilliant example is the Duke of Pastrana (Prado Museum, P650). Leticia Ruiz Domnikos Theotokpoulos, known as El Greco Candia (now Heraklion), Crete, 1541 Toledo, 1614 Though he was born on the island of Crete, El Greco (The Greek) spent most of his productive years in Spain and was the painter working during the reign of Philip II with the most diverse artistic background and the one who has attracted the greatest amount of art-historical attention. His long and complex formative period began at home with his training as an icon painter in the local post-Byzantine tradition, followed by a stay in Italy during which he became familiar with Venetian color and Roman drawing. In late 1576 or early 1577, he arrived in Spain. By way of introduction to his new homeland, he executed an important project consisting of several altarpieces for the church of Santo Domingo el Antiguo, in Toledo. His goal was to obtain commissions from the two most important artistic patrons of his time: King Philip II, who was decorating the monastery he had founded at El Escorial; and the chapter of the Toledo cathedral, which was the see of the head of the Catholic Church in Spain. Although the two works with which he tried to gain the Crowns and Churchs favorthe Martyrdom of St. Maurice (in the Escorial) and The Disrobing of Christ (in the Toledo cathedral) are now regarded as landmarks in the development of the arts in Spain, El Greco was unsuccessful in gaining the patronage of the king or Church. In their stead, he turned to projects for churches, monasteries, and convents in and around Toledo. El Grecos originality, his characteristic nervous, elongated figures, his unique sense of color, and the feeling and expressiveness with which he imagines religious scenes make his works unmistakable. He was also important as a portrait painter, as during his lifetime that genre was little practiced in Spain outside the court. His bold, loose brushstrokes and the expressive quality of the portraits he created make court portraiture of the same time seem stuffy and lifeless. Pablo Prez dOrs chief court painter in 1799. He was also a professor of painting at the Academia de San Fernando and a prestigious portraitist to the aristocracy, to which distinctions we might add his skill as a painter of religious compositions for the Church and private devotions. In 1793, he fell gravely ill and became deaf. From that time on, he combined his official appointments with more private, intimate activity, producing albums of drawings and several series of etchings, among them the Caprichos (1799), the Tauromaquia (a series on bullfighting, 1814), the Disasters of War (18081814), and the Disparates (Follies, also known as Los Proverbios, The Proverbs, ca. 18191821), not to mention works of smaller size (what Goya called cabinet paintings, usually known in English as Fantasy and Invention) with new, independent ideas. The War of Independence (18081814) and the ascent of Ferdinand VII, with its consequent political repression, were determining moments in Goyas life, and they had a clear effect on his artistic work, which was always marked by his advanced liberal ideas. In 1824, he decided to move to Bordeaux, perhaps due to political reasons, though this is not entirely clear, or for personal reasons having to do with his family. He died in Bordeaux on April 16, 1828. Manuela B. Mena Marqus

Mateo Cerezo Burgos, 1637 Madrid, 1666 Although he died when he was only twenty-nine years old, and thus before he had fully matured as an artist, Mateo Cerezo was one of the most talented painters of the second half of the seventeenth century. He must have learned the art of painting with his father, in Burgos, and around 1655 he moved to Madrid to study with Juan Carreo de Miranda. Carreo was one of the most important painters of his generation, and although his works reflect the opulent Baroque style prevalent at the time, his was a more classical and elegant sensibility, more akin to Titian and van Dyck than to Rubens. Cerezo absorbed his masters teachings, and he soon began to develop his own rich, warm, sensual tonal range applied with light, frothy brushstrokes. Some of his larger canvases show his mastery of ambitious religious compositions, in which several figures gracefully interact in architectural settings that are perfectly drawn in perspective and often include sumptuous Baroque draperies and delightful still-life details such as flowers and baskets with fruits. His simpler paintings, showing isolated saints, reveal the Venetian roots of his art, as do his numerous Immaculate Conceptions, painted in warm tones and conveying a restrained sense of movement. Although he was principally a painter of religious scenes he was also a still-life painter, and in this aspect of his career he imitated the sumptuous Flemish canvases that were so popular at the time with aristocratic collectors in Madrid. Pablo Prez dOrs

Toms Hiepes (or Yepes) ?, 1595 Valencia, 1674 By 1616, Hiepes was a member of the Painters College in Valencia, and documents indicate that in 1632 he was doing still-lifes, although the first one known to have been painted by him dates to 1642. He was one of the most brilliant painters of his time, with a style that shows the clear influence of artists such as Juan van der Hamen and Alejandro de Loarte, and he may have had contact during his adulthood with the Neapolitan world of the Reccos. His kitchen still-lifes and baskets of fruits and flowers were very highly prized in Valencia and the surrounding area. The eighteenth-century biographer Marco Antonio Orellana had special praise for Hiepes, noting that in his time he was the only well-known name in the still-life genre, to the point that the people see no baskets with fruit, flowers, and so on, cakes, fried pasties, cheeses, pies, and pots and pans and the like for pastrymaking, well executed, and lifelike, that they do not believe and esteem as done by Yepes. His still-lifes and fruit paintings are admirably natural-looking, done with painstaking technique and dense brushwork that values the various qualities of the things. He uses a gamut of warm colors, predominantly toasted- and reddish-browns, quite Valencian all in all, and similar at times to the palette of Juan de Espinosa in his religious canvases. Along with these relatively complex paintings, some flower paintings have survived that are simpler, no doubt

Francisco de Goya y Lucientes Fuendetodos, Zaragoza, 1746 Burdeos, 1828 Painter, draftsman, and engraver, Goya is one of the most singular artists in European culture and one of the most important representatives of Spanish painting. Although his father was a gilder, Goya did not pursue that trade, studying painting instead in the studio of Jos Luzn. Later he said he had also been a student of Francisco Bayeu, whose sister Josefa he married. In Bayeus position as court painter alongside Anton Rafael Mengs (Charles IIIs first painter), he had a decisive influence on young Goyas future career at court. Goya was named painter to the king in 1786, court painter in 1789, and
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Juan Carreo de Miranda Avils, Asturias 1614 Madrid, 1685 Of noble Asturian blood, this central figure in the painting of the Spanish Baroque as practiced at the court was trained in Madrid in the studios of Pedro de Cuevas and Bartolom Romn. His career as a painter of religious subjects began in the mid-seventeenth
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conceived with a purely decorative purpose and painted more summarily, with the elements of the painting arranged almost archaically, in a single plane and very symmetrically, though still with a certain charm. It is only fair to note that Hiepes creations of vases or pitchers with flowers or fruits are done with great precision and concern for descriptive details, a fact proven by the realism that we noted above, although in contradiction to the search for three-dimensional illusion. Hiepes also signed his name as Yepes, which is why there is still some doubt as to the name under which to catalogue his works. Juan J. Luna

Santiago Morn ca. 1571-1626 Information on this painter is scarce, though we know that he practiced mainly as a portraitist. The first mention we have of him is in 1597, linking him to Madrid and Juan Pantoja de la Cruz, with whom he had a close relationship. In 1609, after some time in Valladolid when the Spanish court moved to that city (16011606), he succeeded Pantoja, who had died the year before, as court painter to Philip III in Madrid. Documentation has revealed that in addition to portraits, Morn also painted religious canvases, such as the series on the life of Christ and the four stories of the Virgin that he painted in 1613 at the behest of painter Mateo Serrano, who was restoring the paintings for the altarpiece of the Church of the Assumption in Robledo de Chavela, in Madrid. Of that genre, there remains only a single painting whose authorship is certain: St. Ildephonsus Receiving the Chasuble (now in Cartagena). This painting underscores Morns proximity to the production of Pantoja, especially in the clear parallelisms with the St. Leocadia that Pantoja did for the cathedral in Cordoba. As a portraitist, the only painting we can attribute with certainty to Morn is that of Infanta Margarita Francisca, Daughter of Philip III, which is in the collection of the Prado. This is an exemplary work in that it strictly follows the models for court-portraiture employed by the painters who worked for the Spanish crown. In fact, the work has at various times been attributed to Snchez Coello and Bartolom Gonzlez. Santiago Morn was the father of Santiago Morn Cisneros (ca. 16101663), a painter closer to the orbit of Vicente Carducho. Leticia Ruiz

Luis Egidio Melndez Naples, 1716 Madrid, 1780 Luis Egidio Melndez was born in Naples. From his father, Francisco Antonio Melndez, a Spanish painter, he learned the art of miniature painting, after which he became an assistant to LouisMichel van Loo, court painter to Philip V of Spain. Melndez was one of the first students accepted in the new Academia de Bellas Artes de San Fernando in Madrid, and his famous Self-Portrait (1746; Paris, Louvre) was painted while he was a student there. In 1748 he travelled to Italy and settled in Naples, where he remained until his father called him back to Madrid in 1753 to assist on a large commission by Ferdinand VI to illuminate choir books for the new Royal Chapel. Melndez created twelve full-page miniatures for the choir books, whose decorative borders and initial letters display the artists interest in still-life. According to Peter Cherry, in 1753, even though Melndez had left Naples, he was given the honorary title pintor de cmara (court painter) by Charles VII, King of Naples and Sicily. In 1759, upon the death of Ferdinand VI, Charles became King of Spain, taking the name Charles III, but in Madrid Melndez was unsuccessful in his suit to become court painter to the king, even after four petitions. During the 1760s Melndez became a specialist in painting still-lifes, and about a hundred survive. In 1771 the Prince of Asturias (later Charles IV) and the princess Mara Luisa commissioned Melndez to paint a series of still-lifes documenting every species of food produced by the Spanish climate for the princes new Cabinet of Natural History in the Palacio Real at Aranjuez. Melndez is the only Spanish painter of his generation to make a specialty of this genre, which in eighteenth-century Spain was relegated to a lowly place in the academic hierarchy of painting types. In an age of scientific empiricism, Melndez brought his skills as a painter of miniatures to the descriptive rendering of the materiality of foodstuffs and humble kitchen utensils. He died a pauper in July, 1780. Lisa Lipinski
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contrast of light and dark, usually due to a focused, or forced, light source) of Francisco de Zurbarn. In this early period he often painted images of children, which established his reputation abroad, particularly in England and France. His paintings of the Virgin and Child further popularized this motif. Murillo produced a large body of religious work, including numerous images of the Immaculate Conception. He was also one of the greatest portrait painters of his time, having early in his career developed important contacts with Sevilles intellectual elite, who were eager to offer Murillo commissions. During the 1650s Murillo frequently moved, possibly to accommodate the births and deaths of his many children. He was at the height of his success and received a stream of major commissions for altarpieces and portraits. In January of 1660, Murillo, Francisco de Herrera the Younger, and a number of other prominent artists founded the Real Academia de Bellas Artes de Santa Isabel de Hungra in Seville, with Murillo serving as president of the new arts academy. In 1663 Murillo moved to the parish of San Bartolom. His wife died in December of that year. The decade following her death was Murillos most prolific. While working on a large altarpiece for the church of Santa Catalina in Cadiz, Murillo fell from the scaffolding. He died a few months later. Lisa Lipinski

a looser, more vigorous facture, as we see, for example, in the Portrait of Fray Hernando de Rojas, in the collection of the dukes of Valencia. Leticia Ruiz

Luis Paret y Alczar Madrid, 1746-1799 Luis Paret y Alczar was a delicate and painstaking creator of compositions of great refinement, filled with grace and elegance. With a superb talent for observation of the motifs of the genre, he painted works recognized today as among the finest pictorial documentation of the society of his time. Born to a French father and a Spanish mother, he received some of his education and training in the Real Academia de San Fernando, and was later in Rome for three years. He worked for the Infante don Luis, Charles IIIs brother, but, accused of complicity in the Infantes increasingly scandalous dalliances, the king banished him to Puerto Rico (17751778). He returned to Spain and settled in Bilbao, as he was not allowed to enter Madrid again until 1787. Paret is the most Rococo of all Spanish painters, but he was also familiar with the principles of Neoclassicism. He seems to have studied eighteenth-century Venetian paintings, but was also more than conversant with French paintings, since his teacher was Charles la Traverse, a French artist who worked in Spain. His lovely landscapes, filled with tiny figures, and his local-color scenes, in which a critical eye as well as a tender mischievousness can be seen at work, situate him among the finest European genre-painters of his time. His works are often small-format, sparkling with color and vibrant in their delicate brushwork and highlighting. The fantasy and richness of his scenes have no parallel in Spanish art, and they delight the eye with inimitable splendor. Paret did a few portraits; painted religious scenes, historical canvases, landscapes around the ports of northern Spain, and the like; and designed altars, fonts, and other ornaments for churches. Juan J. Luna

Juan Pantoja de la Cruz Valladolid, ca. 1553 Madrid, 1608 Juan Pantoja de la Cruz was a painter of religious works, still-lifes, and a small number of frescos. After gaining experience in several European courts, where he was heavily influenced by Antonio Moro, and working with Alonso Snchez Coello during Coellos final years, he began his career in Spain as a portraitist during the reign of Philip II. His best works show the unmistakable stamp of painterly sophistication and geometric abstraction, with a theatrical sense of lighting that led him to envelop his figures in powerful contrasts of light and shadow. Pantoja began to paint for the Spanish court in the 1580s, though he was not named court painter until 1596. After the ascension of Philip III to the throne, Pantoja became the most representative portraitist of the time, with a special dedication to the personal commissions of Queen Margarita, producing many likenesses of children and portraits a lo divino, as they were calledthose in which the faces of the royal family were superimposed on saints or figures in biblical stories. For all of this work, he had a large atelier, where a good number of the painters who would give continuity to the rigid formulas that had governed Spanish court-portraiture since the mid-sixteenth century received their training. Pantojas portraits outside the court were more psychologically insightful and intense, with
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Bartolom Esteban Murillo Sevilla, 1617-1682 The Spanish painter and draftsman Bartolom Esteban Murillo (16171682) was born in Seville and baptized there on January 1, 1618. His father, Gaspar Esteban, was a barber-surgeon; his mother, Maria Prez Murillo, was from a family of silversmiths and painters. In accordance with Andalusian tradition, the artist used his mothers surname, Murillo, rather than his fathers. He was orphaned at the age of nine when, within six months of one another, both his parents died. He trained in the Seville studio of Juan del Castillo, a relative on his mothers side, but no apprenticeship contract has survived. In 1645 Murillo married Beatriz Cabrera y Villalobos; the couple was married for twenty years and had eleven children. In that same year, he received his first important commissiona series of eleven canvases for the small cloister of the Monastery of San Francisco el Grande, in Seville. In these works, Murillo blended the influences of the painting of Francisco de Herrera the Elder with the naturalism and tenebrismo (the strong

Jusepe de Ribera Jtiva, Valencia, 1591 Naples, 1652 Ribera is the oldest of the great Spanish masters who flourished in the middle decades of the seventeenth century. His earliest training is still a matter of conjecture, but he is documented in Parma in 1611, when he was twenty years old. Four years later he is found in Rome among a colony of foreign painters, and perhaps living a bohemian life: He is said to have fled the city to escape his

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creditors. By 1616 he was in Naples, where he married the daughter of Bernardino Azzolino, an important and well-established local painter. The kingdom of Naples was then under Spanish rule, and he lived in its capital for the rest of his life. Besides having important Italian clients from Rome and other cities as well as in Naples, the young painter was soon discovered by the Spanish viceroy, the Duke of Osuna. Through the mediation of the duke and all the succeeding viceroys (the Duke of Alcal, the Count of Monterrey, and the Duke of Medina de las Torres), Riberas works reached Spain and, signally, the kings collection. In fact, Philip IV came to own more paintings by Ribera than by any other Spanish artistabout a hundred, divided between El Escorial and the Royal Palace. Despite the influence Ribera exerted on Spanish painters, his style, types, and themes strike critics and art historians as distinctly foreign. He adopted an extreme form of Caravaggios naturalism, which is evident in his use of strong contrasts of light and dark and in his gallery of rough, gritty characters observed from life, but he also learned lessons from a variety of other contemporary artistic idioms such as Bolognese classicism and Roman color. Such diversity of expressive means was unmatched by any of his Spanish contemporaries. In addition to religious subjects, Ribera cultivated other genres that had no parallel in Spain, such as his series of beggars and of ancient philosophers, or scenes inspired by classical mythology, in which he must have been well read. He was also a prolific draftsman and an expert printmaker, occupations unusual among Spanish artists of this period. From a technical point of view, Riberas paintings are characterized by their thick impasto, which adds a tactile quality to them and which the artist employed very effectively to depict different textures and to convey an impression of monumental three-dimensionality. Pablo Prez dOrs

where he saw and would later adopt the late style of Titian and the dramatic light and color of Tintoretto. In March of 1603, Rubens was sent by Vincenzo to Spain, where he remained for eight months. During this stay, he received an important portrait commission from the kings minister. In 1608, Rubens returned to Antwerp, where he lived for the rest of his life. In 1609 he married Isabella Brant, who died in 1626. Four years later he married Hlne Fourment, who modeled for many of his late works. Rubens diplomatic activity began in 1623, and he owed many important commissions to his contacts with royalty in the major courts of Europe. These commissions included not only portraits but also allegories and mythological scenes, many of which glorified his princely patrons. Rubens built a large house in Antwerp, one wing of which was set aside for his studio. His prodigious output was made possible by numerous assistants; the best-known and most gifted painter employed in his studio was Anthony van Dyck. Rubens was the most versatile and influential artist of northern Europe in the seventeenth century. Besides painting, he designed tapestries and pageant decorations and created illustrations for books. He died in Antwerp on May 30, 1640. Lisa Lipinski

place in the history of Spanish painting, as he was the founder of the portrait genre on the Peninsula, introducing the model defined by Antonio Moro to portray the members of the royal house of Austria. Some of his paintings hung in the two main portrait galleries created during the reign of Philip II, at El Pardo palace and the Alczar in Madrid, neither, unfortunately, existing now due to fires in 1604 and 1734. Today, his paintings are in the collections of the Prado Museum, Spanish royal foundations such as the Descalzas Reales in Madrid, and museums and private holdings in Austria and Bohemia. Trinidad de Antonio

Tiziano Vecellio di Gregorio (generally known in English as Titian) Pieve di Cadore, Republic of Venice, ca. 1490 Venice, 1576 Titian was born into an important family in Cadore. While the exact year is uncertain, he arrived in Venice in ca. 15001502, where he apprenticed in the studio of Gentile Bellini, though he later moved to the studio of Gentiles brother Giovanni. Around 1507, he began working with Giorgione (Giorgio da Castelfranco), and together they decorated the faades of the Fondaco dei Tedeschi, the warehouse of the German merchants in Venice. Only fragments of the original frescoes have been preserved. In 1511, after the death of Giorgione a year earlier, Titian worked at the Scuola de SantAntonio in Padua, painting the frescoes depicting certain of the miracles attributed to St. Anthony. In 1513 he rejected Pietro Bembos invitation to move to Rome, preferring instead to offer his services to the Venetian government. In fact, after the death of Giovanni Bellini in 1516, Titian garnered to himself all the important public projects and titles. That same year, for example, he painted The Tribute Money (Dresden, Staatliche Kunstsammlungen, Gemldegalerie Alte Meister) for the Duke of Ferrara, Alfonso I dEste, who would later commission Titian to paint several works for the studio of his residence in Ferrara, including Bacchus and Ariadne (London, The National Gallery), The Bacchanal of the Andrians, and the Offering to Venus (both in the Prado). In 1518 he delivered The Assumption of the Virgin to the high altar of Santa Mara Gloriosa dei Frari in Venice and began work on the Pesaro Madonna (or the Madonna di Ca Pesaro) for the Pesaro family chapel in that same church. Those two works, along with The Martyrdom (or Death) of St. Peter Martyr, which was painted in 1526 for an altarpiece in Santi Giovanni e Paolo in Venice and known now only through copies, represent Titians essential contribution to a new approach to altarpiece paintings. A short time later, Titian began working for Federico II Gonzaga, Marquis (later Duke) of Mantua, who in turn introduced him to Emperor Charles V. In all likelihood, Titian did a portrait
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Alonso Snchez Coello Benifay, Valencia, 1531/32 Madrid, 1588 At the age of ten, Alonso Snchez Coello moved with his family to Portugal, where he began his artistic education. In 1550, recognizing Alonsos talent, king Joo III of Portugal paid for a trip to Flanders for the budding young artist, where he would complete his education and training. There, Snchez Coello was in the service of Cardinal Granvela and a student of Antonio Moro. When he returned to Lisbon in 1552, he probably began working for Prince Joo Manuel of Portugal and his wife the Infanta Juana of Spain, the sister of Philip II. Upon the death of the prince, doa Juana returned to Spain as regent during the absence of her brother and, a short time later, in about 1555, Snchez Coello brought to court, which was then in Valladolid, a portrait of doa Juanas son, the future king Sebastian of Portugal. The painter never returned to Portugal. In Valladolid he painted the first portraits of Prince Charles, Philip IIs son, and in 1560 he married Luisa Reynalte, whose family were silversmiths. That same year he was appointed court painter to Philip II, a position he held until his death, which occurred in 1588 in Madrid, where he had lived since 1561, when the court moved there. During his career, Snchez Coello was fundamentally a portraitist, although he also produced paintings of saints for the altars of the basilica of El Escorial (15801582). He holds a fundamental

of the emperor in about 1530, on the occasion of the emperors coronation in Bologne, and did another three years later, thus initiating a relationship that linked Titian to the House of Austria for over forty years, since his paintings perfectly suited the political, court, devotional, and artistic aspirations of certain members of the family and some of their closest courtiers. In 1533, he was named Count Palatine and Knight of the Order of the Golden Spur by Charles V, but he rejected several invitations to become a member of the Spanish court. He painted several portraits of the emperor and his son, Philip II, creating the prototype of the formula for the court-portrait that later became de rigueur. During this time he also painted religious canvases, such as The Glory (usually known as The Trinity in Glory) and The Burial of Christ (both in the Prado) and several versions of Ecce Homo and the Mater Dolorosa, not to mention mythological scenes such as Dana and Venus and Adonis (Prado) for Philip II and The Furies for Philips aunt, Mara of Hungary. At the same time, he continued to receive commissions from Italian patrons such as Duke Guidobaldo II della Rovere, for whom he painted the Venus of Urbino (Florence, Galleria degli Uffizi), and Spanish patrons such as Alfonso de valos, Marquis del Vasto, whose portrait he did (Prado). He also enjoyed the patronage of popes such as Paul III (Naples, Museo Nazionale di Capodimonte) and religious institutions such as the Church of Santa Mara delle Grazie in Milan, for which he painted The Crowning with Thorns (Paris, the Louvre). After a long, full life, Titian died on August 27, 1576, as the plague swept through Venice. Jos Riello

Juan van der Hamen y Len Madrid, 1596-1631 Juan van der Hamen y Len was a second-generation Spaniard whose Flemish grandfather had left Brussels to serve the Emperor Charles V in Madrid as a soldier. A strong military tradition ran in the family and Juan, like his maternal grandfather and two uncles, belonged to a socially prestigious corps devoted to the protection of the King, the Guardia de Archeros, whose membership was drawn from the Flemish nobility and their descendants. In early-seventeenth-century Spain, Flemish flower paintings were particularly appreciated, which may have helped van der Hamen become more commercially attractive; he painted meticulously detailed floral arrangements, traditionally a genre that was imported from the Spanish Low Countries, and on some occasions he consciously imitated Flemish models. However, his canvases always show his own artistic personality, and his work was key in the development of a distinctively Spanish type of bodegn (stilllife painting), characterized by its synthetic approach to form, its geometrical and sculptural qualities, and its careful understanding

Peter Paul Rubens Siegen, 1577 Antwerp, 1640 Peter Paul Rubens, Flemish painter, draftsman, and diplomat, was born in Siegen, Westphalia, on June 28, 1577. After his fathers death, his mother moved her children back to Antwerp, their city of origin. Rubens was eleven years old. He converted to Catholicism and attended the Latin school run by Rombout Verdonck, where he received a thorough education in the classics. He spoke Dutch, Latin, Italian, and French. In 1598, after a period of apprenticeship with painters Tobias Verhaecht (a distant relative), Adam van Noort, and Otto van Veen, Rubens became a master-painter in the Guild of St. Luke in Antwerp. He traveled to Italy in 1600, where he painted portraits for Vincenzo I Gonzaga, Duke of Mantua, and copied many famous Renaissance paintings in the Dukes collection. He also spent time in Venice and Rome,
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of the effects of light and space. Owing to his success, he and his workshop held a virtual monopoly over still-life painting at the court during the 1620s. He received commissions to paint still-lifes for Philip IV, and his works appear in the most important aristocratic collections of that time. Van der Hamen collaborated with the important painter and theoretician Vicente Carducho, and he must have had an intellectual bent, since he had many friends in literary circles. He also excelled as a portraitist and a painter of religious scenes, as for example the canvases he painted for the royal convent of La Encarnacin. Pablo Prez dOrs

forthcoming, he returned to England, where he died in his house at Blackfriars on December 9, 1641, only eight days after his daughter Justiniana was born. Lisa Lipinski

Diego Velzquez Sevilla, 1599 - Madrid, 1660 Diego Velzquez trained in the studio of Francisco Pacheco, a painter and writer of histories of art, and married his daughter. During this period Velzquez painted religious subjects and local-color scenes that he approached from a naturalistic point of view, though with the stylistic and iconographic originality that characterizes his entire production. From 1623 to his death in 1660, his professional career revolved around Philip IV of Spain, in whose shadow he developed an administrative career that culminated with his appointment, in 1652, as royal chamberlain. His residence at the court in Madrid was interrupted by two journeys to Italy, in 1630 and 1650. His contact with the magnificent royal collections in Spain and his knowledge of developments in Italian art are two of the main sources of his style, which exhibits extraordinary personality and employs color as the principal material of his painting. With works of great narrative originality, Velzquez is, from the point of view of the history of European painting, a fundamental link in the long chain in which other major links are Titian and Rubens. Although most of his production consists of portraits of the monarch and his court, Velzquez occasionally painted other subjects, such as biblical history, mythology, and scenes from contemporary history. Javier Ports

Anthony van Dyck Antwerp, 1599 England, 1641 Sir Anthony van Dyck was the leading Flemish painter after Rubens in the first half of the seventeenth century, and by the eighteenth century was considered Rubens equal. He was born in Antwerp, the principal mercantile and cultural center of the Spanish Netherlands, and trained with Hendrik van Balen. By 16151616 he was an independent artist, and by early 1618 was a master-painter in the Guild of St. Luke. During these early years, van Dyck served as Rubens studio assistant. After a few months in London in 16201621, Van Dyck went to Italy, where he lived for six years. Following the example of Rubens, he set up a base in Genoa from which he traveled to Rome, Florence, Bologna, Venice, Mantua, and Palermo. He was drawn to the work of Titian, Veronese, and Tintoretto, and his famous Italian Sketchbook (British Museum, London) is full of drawings of the pictures he admired. While in Italy, the portraits he painted of important Genovese individuals and families secured his reputation as a major artist. Van Dyck returned to Antwerp in 1628 as an accomplished court painter. In 1632 he was appointed portrait painter to Charles I, which earned him a substantial income and a knighthood. During a twelve-month sojourn in Flanders from 1634 to 1635, van Dyck executed several portraits, including the portrait of CardinalInfante Ferdinand (Prado, Madrid). Subsequent to this stay in the Low Countries, van Dyck returned to England, where he developed a pastoral mode of presentation for the pose, dress, and setting of the elite clients who sat for him. His best-known work is the portrait of King Charles I in hunting costume, ca. 1635 (Louvre, Paris). While in England he produced the Iconography, a series of prints of princes, scholars, and artists, and planned a series of tapestries portraying the history of the Order of the Garter, meant to decorate the Banqueting House at Whitehall. After Rubens death in 1640 and van Dycks marriage to Mary Ruthven, a lady-in-waiting to the Queen, van Dyck removed to Antwerp and Brussels, where he hoped to secure a new commission. When the commission was not
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His first important commission in Seville came in 1626, for the Dominican monastery of San Pablo el Real. The effects of light and shadow in the crucifix that he painted for the sacristy were so extreme and convincing that it was said that everyone who saw it, and did not know it was painted, thought that it was a sculpture. Other paintings in that same monastery show that even at this early stage in his career, he had a large workshop, which speaks of his commercial success. One after another, all the major religious orders offered him commissions, sometimes coinciding with an important event such as the canonization of an important member of the order. This period thus consolidated Zurbarns reputation as a painter of narrative monastic series. In 1634, he was invited to work in Madrid in the decoration of the Saln de Reinos (Hall of Realms) in Philip IVs new Buen Retiro palace. His stay of two years at the court broadened his artistic horizons and inspired a turn toward a more classical Italianate idiom. From the mid1630s through the 1640s, due to the difficult economic situation in Seville, Zurbarn turned to the overseas market, and many religious paintings left his workshop to be sold in Lima and Buenos Aires; these canvases became an important referent in SpanishColonial painting. He returned to the court in 1658, where he continued to paint smaller devotional canvases and also received commissions from monasteries and convents around Madrid. Besides his religious production, Zurbarn was also an excellent still-life painter, owing to his austere gaze and his interest in the qualities and textures of surfaces. Pablo Prez dOrs

Francisco de Zurbarn Fuente de Cantos, Badajoz, 1598 Madrid, 1664 Zurbarn has been hailed as the artist who, on the basis of his fondness for concrete reality, his intense expression of religious transcendence, and his particular, somewhat unsophisticated yet endearing style, best epitomizes painting in the Spanish Siglo de Oro. His depictions of monks enraptured by mystical experience are indeed one of the pinnacles of Spanish art. Zurbarns artistic trajectory is also very representative of his time: he was trained in the tradition of strict naturalism la Caravaggio, then later, without fully adopting the new Baroque style, toned down his tenebrismo (the stark contrast of lights and darks) and began to experiment with softer and more delicate forms and a richer, lighter palette. He spent his formative years in Seville, at the same time as Velzquez and Cano, and soon moved to nearby Llerena.
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fIchAstcnIcAs/technical information

Fichas tcnicas / Technical information

Domnikos Theotokpoulos, El Greco S an Juan Evangelista / Saint John the Evangelist
ca. 1605.leosobrelienzo/oil on canvas, 99cm77cm.P2444. Cat. 3 Procedencia / Provenance CsarCabaasCaballero;donadoal/donated to thePradoin1921 Exposiciones / Exhibitions Tokyo/Nara/Nagoya1986-7;Ginebra/Geneva 1989;Chartres1991;Madrid2007-8;Budapest 2008-9 Bibliografa / Bibliography Cosso1908,#94;Beruete1912,p.12;Mayer 1926,#185;Legadre&Hartmann1937,pl.323; Nouletal.1939;CamnAznar1950,I,#343,fig. 774;Wethey1962,#253;CamnAznar1970b,p. 997;Gudiol1971,p.306,pl.279;PrezSnchez etal.1976,#5;Alcolea1990;lvarezLopera1993, p.288,#191;OrtegaCaldern1996,p.73,#211; RuizGmez2001,pp.120-121;SnchezMontero etal.2001,pp.164-166;PrezSnchezetal.2002, p.72;Schroth2003,pp.381-401;Martnez-Burgos 2005,p.355;RuizGmez2007,pp.144-147 Cat. 1. Cosso1981,#315;Caedo-Argelles1982,pl.56; Checa1983,p.323,pl.280;PitaAndrade1985, p.160;Martn1985,II,p.475;Alcolea1990,pl. 82-3;Maras1991,p.62,pl.68;RuizGmez2001, p.118;Schlz-Hansel2003;lvarezLopera2005; RuizGmez2007,pp.176-181 Cat. 5

Peter Paul Rubens La Sagrada Familia con Santa Ana / Holy Family with Saint Anne
ca. 1630.leosobrelienzo/oil on canvas, 116cm91cm.P01639.

Cat. 8

Tiziano Vecellio di Gregorio Salom / Salome

ca. 1550.leosobrelienzo/oil on canvas, 87cm80cm.P00428. Procedencia / Provenance DuquedeLerma,QuintadelPrior,Madrid,1607; ConventodeSanBlas,Lerma,1617;coleccin real/Royal Collection;regaladaporFelipeIVal PrncipedeGales,futuroCarlosI,en1623/Given by Philip IV to the Prince of Wales, future Charles I, in 1623;adquiridoporelMarqusdeLegansen laalmonedadeCarlosI/bought by the Marqus de Legans at the sale of Charles I;traslamuerte deLegansen1655,enlacoleccinreal/in the Royal Collection after the death of Legans in 1655;Alczar,1666,1734;BuenRetiro;Palacio Real;MuseodelPrado Exposiciones / Exhibitions Madrid2003,#44,pp.254-255 Bibliografa / Bibliography Crowe&Cavalcaselle1877-1878,II,pp.136&141; Suida1935,pp.112&176;Tietze1936,IIp.295; Beroqui1946,p.169;Valcanover1960,II;Wethey 1969,I,p.160;Brown&Elliott2002;Banner2009, p.135;PrezPreciado2010

Procedencia / Provenance Coleccionesreales/Royal collections; probablementeenel/probably in theReal Alczar,1686;Prado,1834 Exposiciones / Exhibitions Itinerante/Touring2006-2007,#9 Bibliografa / Bibliography Breuer1984,fig.132;Garrido1990;Gschwend 2003,pp.267-271;Ports1998-99,#142;Kusche 2003,p.120

Jusepe de Ribera San Sebastin / The Martyrdom of Saint Sebastian

1636.leosobrelienzo/oil on canvas, 127cm100cm.P01095. Firmadoyfechado/Signed and dated:Jusepede Ribera/espaolFt./1636 Inscritoennegroenlaparteinferiorizquierda/ Inscribed in black on the bottom left:125(del inventariodelPradode1857/from the 1857 inventory of the Prado) Procedencia / Provenance Coleccinreal/Royal collection Exposiciones / Exhibitions Valencia1991-2;Madrid1992;Npoles/Naples 1992;SanSebastin1993;Tokyo2002 Bibliografa / Bibliography Pantorba1946,p.28;Spinosa1979,#131;Madrid 1992,pp.294-5;SanSebastin1993,p.135,#22; Spinosa2008,p.468

Procedencia / Provenance: ElEscorial,probablemente/probably1660; Madrid,bibliotecadel/library of thePalacio Nuevo,1794;Prado,Madrid,1839 Bibliografa / Bibliography delosSantos1681,p.75;deAndrs1971,p.52; Jaff1989,p.317;Vosters1993,pp.291-294;Daz Padrn1996,p.868;Vergara1999,p.161,pl.79; Vergara1999b,p.338;Bouza2009,pp.44-71

Bibliografa / Bibliography Rooses1890,III,p.292;Allende-Salazar& SnchezCantn1919,p.209;Nouletal.1939, #124;lvarezdeSotomayor1948,p.36;Lafuente 1977,p.246;Brown&Elliott1980,pl.78;Brown &Elliott1981,p.136,pl.78;Brown1982,pp. 34-39;Michiels1982,pp.445-446;DazPadrn& Orihuela1983,p.111;Orso1986,pp.59,107,115, pl.42;Brown1986b,p.173,pl.197;Fernndez Miranda1988,I,p.37;Moir1994,p.38,pl.68; Gritsai1996,p.157,pl.149;DazPadrn1996,p. 442;Harris2003,p.97;Barnesetal.2004,p.314; DazPadrn2008,pp.189-212

Cat. 11

Santiago Morn La infanta Margarita Francisca, hija de Felipe III / Infanta Margarita Francisca, Daughter of Philip III
ca.1610.leosobrelienzo/oil on canvas, 100cm72cm.P1282. Depositadodesde1944enelMuseode Pontevedra/On deposit in the Museo de Pontevedra since 1944 Procedencia / Provenance Coleccionesreales/Royal collections;Real Alczar1636;seincorporaalPradodelPalacio deAranjuez1847/transferred to the Prado from Palacio de Aranjuez in 1847

Cat. 13

Diego Velzquez Don Diego de Acedo, El Primo

ca. 16361638.leosobrelienzo/oil on canvas, 107cm82cm.P1201. Procedencia / Provenance TorredelaParada,1701;ElPardoPalace,1714; Madrid,PalacioNuevo,1772;Prado,1819 Exposiciones / Exhibitions Ginebra/Geneva1939,#101;Madrid1986, #24;Pars/Paris19878,#30;Madrid1990,#55; Amsterdam1998,#161;Pars/Paris/NuevaYork/ New York2002-2003,#74,p.453;Roma/Rome 2003-2004 Bibliografa / Bibliography Madrazo1872,#30;Cruzada1885,p.328; Pantorba1955,#85;Lpez-Rey1963,#420;Brown 1986,p.148;Garrido1992,pp.485493;Mena 2000,pp.110114;Checa2008,#591

Cat. 6

Bartolom Esteban Murillo La Virgen del Rosario / The Virgin of the Rosary
16501655.leosobrelienzo/oil on canvas, 166cm112cm.P00975. Procedencia / Provenance CharlesIV,CasitadelPrncipe,ElEscorial,Madrid, para/by1788;1814;PalacioReal,Madrid, 18141819;Monasteriode/Monastery ofEl Escorial,Madrid,18191827;MuseoNacionaldel Prado,Madrid,1827 Exposiciones / Exhibitions Alexandria2003,p.87;Albuquerque2005;Nueva York/New York2006-7;Bilbao/Seville2009-2010, pp.298-301;SanPetersburgo/Saint Petersburg 2011 Bibliografa / Bibliography Trens1946,p.321;Gaya1978,#35;Lafuente 1978b,p.242;Esteman1980,#35;Mena1982,p. 160;Anatra1988,p.176,pl.193;Valdivieso1991, p.73;Ports2001,p.176;Blade2006,p.99,pl.53

Cat. 2

DomnikosTheotokpoulos, El Greco San Sebastin / Saint Sebastian

ca. 1610-1614.leosobrelienzoendos fragmentos/oil on canvas in two fragments: superior/upper115cm85cm.;inferior/lower 91cm115cm.P03002,P07186. Procedencia / Provenance Fragmentosuperior/Upperfragment:Marqusde Casa-Torres;MarqusdelaVega-Incln;Marqus deCasa-Torresnuevamente/again,1954;suhija/ his daughter,MarquesadeCasa-Riera;legadoal/ bequeathed to the Prado,1959enmemoriadel/in memory of theMarqusdeCasa-Torres. Fragmentoinferior/Lower fragment:Jos OsinaldePeagaricano;adquiridoporel/ purchased by thePradoin1987 Exposiciones / Exhibitions Madrid2002-3,p.419;Atenas/Athens2007-8; Madrid2007-8;Zaragoza/Bruselas/Brussels/ Mxico,D.F/Mexico City2008-10 Bibliografa / Bibliography Lpez-Roberts1931,p.51;CamnAznar1950, p.712;SnchezCantn1962a,p.74;Snchez Cantn1962b,p.306;Eeckhout&Ballegeer1966, #17;Whethey1967,#28;Angulo1968,p.312; Prez1969,p.301;deSalas&Frati1970,#168; Gudiol1971,#241;SnchezCantn&deSalas 1972,pp.307-8;Ascione1973,pl.61;Lafuente 1978,p.313;diPietro&Baccheschi1979,p.74;

Cat. 9

Cat. 4

Francisco de Zurbarn El Salvador, bendiciendo / Christ as the Savior, Blessing

1638.leosobrelienzo/oil on canvas, 100cm72cm.P06074. Firmadoyfechadoenocre,abajoalaizquierda /Signed and dated in ochre at bottom left: francodezurbaran/facieuat.1638 Procedencia / Provenance ColeccinIturbe/Iturbe collection,Madrid; DuquesadeParcent;1939,FlixMillet,Barcelona; adquiridoporelPrado1980/purchased by the Prado, 1980 Exposiciones / Exhibitions Londres/London1920-1,#58;Madrid1988 Bibliografa / Bibliography Cascales1911,p.108;Kehrer1918,p.97;Soria 1944,p.162;Soria1953,#147;Guinard1960,#121; Guinard&Frati1975,#274;Gllego&Gudiol 1976,p.196,#121;PrezSnchez1985,#6074; Zurbarn1988,pp.394-6,#100;OrtegaCaldern 1996,p.136,#380;Delenda2009,I,#119,pp. 380-1

Juan Pantoja de la Cruz El emperador Carlos V (segn Tiziano) / Emperor Charles V (after Titian)
1605.leosobrelienzo/oil on canvas, 183cm110cm.P1033. Enlazonainferiorderecha,bajoelbufete,firmado /signed on lower right, under the chest,Joannes Pantojadela.+./eijs.Traductor.1605 Procedencia / Provenance Coleccionesreales/Royal collections Exposiciones / Exhibitions Toledo,1958,#111;Ingelheim,1986,#8;Madrid 20032004,#2;Itinerante/Touring2006-2007,#5 Bibliografa / Bibliography Kusche,1964,#35;Wethey,1971,pp.194195, #15;Madrid,19871988,#456

Exposiciones / Exhibitions Itinerante/Touring2006-2007,#12 Bibliografa / Bibliography Alarcn1987,pp.7-42;AllendeSalazar&Snchez Cantn1919,pp.167-168;MartnezGil1993,p. 109;Valera2000,pp.336-337.

Cat. 14 + Cat. 15

Cat. 12

Cat. 7

Anthony van Dyck El Cardinal-Infante Fernando de Austria

ca. 1634.leosobrelienzo/oil on canvas, 107cm106cm.P01480. Procedencia / Provenance RegaladoaFelipeIVporelMarqusdeLegans, consuinformesobrelavictoriadeFernandoen Nordlingen/Given to Philip IV by the Marqus de Legans with his report of Ferdinands victory at Nrdlingen;Madrid,Alczar,Pieanueva,1636; inventariosdelAlczar/inventories of the Alczar, 1666and1734;PalacioNuevo,inventariosde/ inventories of1772,1794,1814;Prado,Madrid Exposiciones / Exhibitions Tokyo2002;Beijing/Shanghai2007,p.253; Hamburgo/Hamburg2010

Taller de / Workshop of Diego Velzquez Retrato orante de Felipe IV / Philip IV in Prayer

ca. 1655.leosobrelienzo/oil on canvas, 209cm147cm.P1220.

Alonso Cano Crucifixin / Crucifixion

ca. 16351665.leosobrelienzo/oil on canvas, 130cm96cm.P07718. Procedencia / Provenance JosPalacioCarvajal;donadoal/donated to the Prado,1998 Bibliografa / Bibliography HenaresCullar2001;Informacin...1999,p.179

Retrato orante de la reina Mariana de Austria / Queen Mariana of Austria in Prayer

ca. 1655.leosobrelienzo/oil on canvas, 209cm147cm.P1222. Procedencia / Provenance MonasteriodelEscorial;Madrid,Prado,1837 Bibliografa / Bibliography Poler1857,p.179;Justi1888[1999],p.553; LpezRey1963,pp.217,246-247;Bardi1970,p. 110

Alonso Snchez Coello La dama del abanico / Lady with a Fan

ca. 157073.leosobretabla/oil on wood panel, 62.6cm55cm.P1142.

Cat. 10

142

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fIchAstcnIcAs/technical information

Cat. 16

Juan Carreo de Miranda La Monstrua desnuda (Baco) / The Monster, Nude, or Bacchus
ca. 1680.leosobrelienzo/oil on canvas, 165cm108cm.P2800. Procedencia / Provenance ColeccionesReales/Royal Collections,Alczar (1686,1694);Zarzuela1701;JuanGlvez;Infante DonSebastinGabriel1843;DuquedeMarchena; BarndeForna;donadoal/donated to thePrado 1939 Exposiciones / Exhibitions Madrid1986,pp.228-229,#50;Itinerante/ Touring2006-2007,#33;NewYork2007,p.372 Bibliografa / Bibliography Cabezas1680;Madrazo1872,p.664,#691; Allende-Salazar&SnchezCantn1919,pp.245 246;SnchezCantn1940,p.13;Maran1945, p.105;Palomino[1724]1947,p.1,029;Marzolf 1961,pp.90-91and170-172;PrezSnchez 1985b,#89;Madrid1986,pp.228229,#4950

sobrinos(nietosdeTadea)/his nephews (Tadeas grandchildren)Gabriel&LuisaEnrquezValds. Legadopor/Legacy ofLuisaEnrquezValds 1896 Exposiciones / Exhibitions Ginebra/Geneva1939,#3;Londres/London 1963-1964,#74;Tokyo/Kyoto1971-1972,#29; Barcelona1977,#21;Bruselas/Brussels1985,p. 77;Madrid1992-1993,p.142;Madrid1996,#81; Oslo,1996,p.107,pl.63,#63;Mosc/Moscow 1998;Tokyo2002,#64;Madrid2006,p.178; Itinerante/Touring2006-2007,#60 Bibliografa / Bibliography Vizaa1887,p.261;Calvert1908,pl.122;Allende Salazar&SnchezCantn1919,p.72;lvarez deSotomayor1939,p.29;Lafuente1947,p.67; lvarezdeSotomayor1948,p.27;Boucher& Deslandes1949,pl.803;Montesa1967,p.90; Gudiol1970,p.291,#339;SnchezPiuela1971,p. 235;Gassier&Wilson1974,#336;deSalas1978b, p.34;Comba1982,p.142;Gllego,Prez Snchez&Mena1985,p.77;PrezSnchez1987, p.315;Glendinning1992,p.142;Morales1994,p. 229;Luna&Moreno1996,p.359;Moreno1997, p.322

Cat. 20

Juan van der Hamen y Len Bodegn con cesta y caja de dulces / StillLife with a Basket and Sweetmeats
1627.leosobrelienzo/oil on canvas, 84cm105cm.P07743. Firmadoyfechadoenlatapadelfrasco,abajoala derecha/Signed and dated on the lid of the jar at bottom right:JuBanderhamen/[...]fa.1627 Procedencia / Provenance Coleccinprivada/Private collection,Jtiva;Julio Cavestany,MarqusdeMoret,Madrid;Almudena CavestanyBastida,Madrid;adquiridoparael Pradoen1999confondosdellegadoVillaescusa /purchased for the Prado in 1999 with funds from the Villaescusa bequest Exposiciones / Exhibitions Madrid1936-1940,#5;FortWorth/ToledoOH 1985,#18;Madrid1987,#20;Bilbao1999-2000; Tokyo2002,#51;Madrid/Dallas2005-6,#8; Beijing/Shanghai2007,#6;LaCorua2009 Bibliografa / Bibliography Lafuente1935,p.175;Cavestany1936,p.28,#5; Bergstrm1963,p.25;Jordan1964-5,pp.52-65; Jordan1967,#9;Triad1975,#9;Jordan1985, pp.230-4,238-9,#18;Jordan&Cherry1995, p.76;Cherry1999,pp.154,157,pl.XXXVIII.1; Alzuri1999,p.96,#10;Jordan2005,p.87,#8;Luna 2007,#6;Luna2009,pp.54-55,#1

Procedencia / Provenance Sucesoresde/Estate ofRodrguez&Jimnez; adquiridoporel/purchased by thePrado1970 Exposiciones / Exhibitions Londres/London1976,#78;Madrid1978-9,#110; Caracas1981,#57;Madrid1983-4,#76;Madrid 1986,#134;Pars/Paris1987-1988,#74;Ginebra /Geneva1989,#50;Tokyo/Nagoya1992,#35; Londres/London1995,#35;Madrid1995,#14; Bolonia/SoPaulo1998,#76;Bilbao1999-2000, #38;Tokyo2002,#55;LaCorua2009 Bibliografa / Bibliography Young1976,p.212;deSalas1978,pp.13-14; PrezSnchez1978,#110;DazPadrn1981, #57;PrezSanchez1983,#76;PrezSanchez 1986,#134;Buenda&GutirrezPastor1986, #69;PrezSanchez1987,#121;Ayala1991,p. 238;Alcolea1991,p.100;Jordan&Cherry1995, #35;Antonio&Orihuela1995,#14;Cherry1999, pp.235-6,fig.167;Alzuri1999,pp.182-183,#38; Ports2001,p.60;Aterido2002,p.72;Luna2009, pp.94-95,#26

Firmadoenlazonainferiordelvalo/Signed in the lower right of the oval,L.Paretfet. Procedencia / Provenance ColeccionesReales/Royal Collections:Casitadel Prncipe,SanLorenzodeElEscorial;PalacioReal deAranjuez;MuseodelPrado,para/by1833. Exposiciones / Exhibitions Madrid1936-1940,p.98,#44;Bordeaux1978, #45;BuenosAires1980,#44,p.122;Madrid 1983-1984,#158;Bilbao1991-1992,#6;Tokyo/ Nagoya1992,#57;Londres[London]1995,#60; Madrid1995,#30;Bilbao1999-2000,#45,p.199; Barcelona2007,#45 Bibliografa / Bibliography Cavestany1922,p.131,#44;Cavestany1936,p. 98;Aguilera1946,pl.39,p.18;Gaya1952,#70; Lafuente1953,p.396,#45;Delgado1957,p.245, #27;SnchezCantn1965,p.238;Luna1984a, p.103;Luna1984b,p.154;PrezSnchez1987,p. 191;Luna1991,p.191,#7;Morales&Marn1997, p.123,#29

Cat. 23

Cat. 17

Luis Paret y Alczar Autorretrato en el estudio / Self-Portrait in the Artists Studio

ca. 1786.leosobrelienzo/oil on canvas, 39.8cm31.8cm.P7701. Procedencia / Provenance Coleccinde/Collection ofFlixBoix;anticuario /antiques dealerApolinarSnchez,Madrid; coleccinparticular/private collection,Bilbao; donadoal/donated to thePradoporlaFundacon delosAmigosdelPrado/by the Friends of the Prado Foundation,1966 Exposiciones / Exhibitions Bilbao1991-1992,pp.267,269,#26;Madrid20045,p.359,#58;Itinerante/Touring2006-2007,#54 Bibliografa / Bibliography Bilbao1991-1992,#25;Delgado1957,pp.251252;Luna1984a,p.6;Calvo1996,pp.13-42;Luna 1973,pp.423-433;Morales1997,#56;Mena2000, pp.138-139

Cat. 19

Francisco de Goya Fernando VII en un campamento / Fernando VII in a Military Encampment

post.1815.leosobrelienzo/oil on canvas, 207cm140cm.P00724.

Luis Egidio Melndez Bodegn: sandas, pan, roscas y copa / Still Life with Watermelon, Pastries, Bread, and Wine
1770.leosobrelienzo/oil on canvas, 35cm48cm.P00915. Firmadoenelbordedeltablero/Signed on the edge of the board:EugeniusLudovicusen RiveraDurazos.p.1770 Procedencia / Provenance GabinetedeHistoriaNaturaldelPrncipede Asturias(?),PalacioReal,Madrid1771ca. 1777; LaCasitadelPrncipe,ElEscorial,1778ca. 1785; PabellnGrandedelEmbarcadero,Aranjuez, ca. 1785ca. 1795;PiezadeCubierto,Palacio Real,Aranjuez,ca. 17951818;MuseodelPrado, Madrid,1819 Exposiciones / Exhibitions Lisboa/Lisbon2010,pp.107-117 Bibliografa / Bibliography Luna1982,#18;Tufts1982,#14;GutirrezAlonso 1983,p.165;Tufts1985,p.71;EspinosaMartn 1989,pp.67-77;Jordan&Cherry1995,pp.146153;Garrido&Cherry2004,212-217

Cat. 21 Enelnguloinferiorizquierdo,invertido,pintado /In the lower left hand corner, inverted, painted: GOYA Procedencia / Provenance EscuelaEspecialdeIngenierosdeCaminos; MuseodelaTrinidad1869,Prado,1872 Exposiciones / Exhibitions Londres/London1963-64,#106;Barcelona1977, #45;Boston/Madrid/NuevaYork/New York19881989,#119;Madrid1996,#144;Madrid2007,#4 Bibliografa / Bibliography Beruete,1916,p.131;vonLoga1923,p.409; Troutman,Francfortetal.1963;MenndezPidalet al.1968,I,p.532;Gassier&Wilson,1974,#1539; Harris1975,pl.33;Lafuente1978b,p.371;de Salas1978b,p.69;Gombrich1979,p.319,pl.320; deSalas1980,p.57;CamnAznar1982,IV,p.35; Gudiol&Marraut1984;Baticle1988,p.92;Prez Snchez,Anesetal.1988,pp.366-369;Prez Snchez,Sayreetal.1989,p.265;Harris1975,p. 136;Morales1994,p.324;Moreno,1997,#103; Mena2000,p.254;Aterido2004,II,p.442

Toms Hiepes Dulces y frutos secos sobre una mesa / Still Life with Sweets and Nuts on a Table
ca. 1600-1630.leosobrelienzo/oil on canvas, 66cm95cm.P07914. Procedencia / Provenance Madrid,RosendoNaseiro;adquiridoenel/ purchased in2006 Exposiciones / Exhibitions Madrid1983-1984,#115;Valencia1995,#5; Madrid2006-2007,#12;Barcelona2007,#18;La Corua2009,#15 Bibliografa / Bibliography PrezSnchez1987,p.153;Cherry1999,pl.CVI; Ports2006,#12;Luna2008,p.76,#15

Cat. 18

Francisco de Goya Tadea Arias de Enrquez

ca. 1789.leosobrelienzo/oil on canvas, 190cm106cm.P00740. Procedencia / Provenance JuanNepomucenoEnrquezdeArias,1876;sus

Mateo Cerezo Bodegn de cocina / Kitchen Still-Life

ca. 1665.leosobrelienzo/oil on canvas, 100cm127cm.P03159.

Cat. 22

Cat. 24

Luis Paret y Alczar Ramillete de flores / Flowerpiece

ca. 1780.leosobrelienzo/oil on canvas, 39cm37cm.P01042.

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exposIcIones/exhibitions

Exposiciones / Exhibitions
Albuquerque 2005 Spanish Masters: The Soul of Spain. AlbuquerqueNM,AlbuquerqueMuseum,2005 Alexandria 2003 The Heart of Spain: Art and Religious Symbol. A Rare Exhibition of Spanish Religious Art. AlexandriaLA,AlexandriaMuseumofArt,2003. Amsterdam 1998 1598-1648: Schittering van Spanje, Van Cervantes tot Velzquez. Amsterdam,NewChurchofAmsterdam,1999. Atenas / Athens 2007-8 El Greco and his workshop. Atenas/Athens,MuseumofCycladicArt GoulandrisFoundation,2008. Barcelona 1976 Zurbarn: 1598-1664. Barcelona,MuseodeArtedeCatalua,1976. Barcelona 1977 Goya. Barcelona,PalaciodePedralbes,1977. Barcelona 2007 Natures mortes de Snchez Cotn a Goya a lentorn de la collecci Naseiro adquirida per al Prado. Barcelona,MuseoNacionaldArtdeCatalunya. Beijing/Shanghai 2007 From Titian to El Greco: Great Masters from the Prado in China. Shanghai,ShanghaiMuseum;Beijing,NationalArt MuseumofChina,2007 Bilbao 1991-1992 Luis Paret y Alczar. Bilbao,MuseodeBellasArtes,1991-1992 Bilbao 1999-2000 El bodegn espaol: de Zurbarn a Picasso. Bilbao,MuseodeBellasArtes,2000. Bilbao/Sevilla 2009-2010 El joven Murillo. Bilbao,MuseodeBellasArtes;Sevilla, MuseodeBellasArtes,2010. Bolonia/So Paulo 1998 Luces del Siglo de Oro espaol. Bolonia,PinacotecaNazionale;SoPaulo, PinacotecadoestadodeSoPaulo,1998. Burdeos / Bordeaux 1978 La nature norte de Brueghel Soutine. Bordeaux,MuseetGaleriedesBeaux-Arts,1978. Boston/Madrid/Nueva York / New York 19881989 Goya y el espritu de la Ilustracin / Goya and the Spirit of Enlightment. Boston,MuseumofFineArts;NewYork, MetropolitanMuseumofArt;Madrid,Museodel Prado,1989. Bruselas / Brussels 1985 Goya. Bruselas/Brussels,MuseRoyalde BeauxArts,1985. Budapest 2008-9 In the wake of Jesus: El Grecos Saint John. Budapest,SzpmvszetiMzeum20082009. Buenos Aires 1980 Panorama de la pintura espaola desde los Reyes Catlicos a Goya. BuenosAires,PalaciodelConsejo Deliberante,1980 Caracas 1981 400 aos de pintura espaola. Caracas,MuseodeBellasArtes,1981. Chartres 1991 Proust et les peintres. Chartres,MusedesBeaux-Arts,1991. La Corua 2009 El bodegn espaol en el Prado: de Van der Hamen a Goya. LaCorua,FundacinCaixaGalicia,2009. Fort Worth / Toledo OH 1985 Spanish Still-Life in the Golden Age, 1600-1650. FortWorth,KimbellArtMuseum/ToledoOH, MuseumofArt,1985 Ginebra / Geneva 1939 Les chefs-doeuvre du Muse du Prado. Ginebra/Geneva,MusedArtetdHistoire,1939. Ginebra / Geneva 1989 De Greco Goya: chefs-duvre du Muse du Prado et des collections espagnoles. Ginebra/Geneva,MusedArtetdHistoire,1989. Granada/Sevilla 2001 El Greco: ltimas expresiones. Granada,SaladeExposicionesdeCajaGranada; Sevilla,MuseodeBellasArtes,2001. Hamburgo / Hamburg 2010 Rubens, Van Dyck, Jordaens: Barock aus Antwerpen. Hamburgo/Hamburg,BuceriusKunstForum,2010. Ingelheim 1986 Burgund. La Bourgogne la fin du Moyen Age. IngelheimamMain,StadtIngelheim,1986. Lisboa / Lisbon 2010 In the Presence of Things: Four Centuries of European Still-Life Painting. Lisboa/Lisbon,FundaoCalouste Gulbenkian,2010. Londres / London 1920-1921 Exhibition of Spanish Paintings. Londres/London,RoyalAcademyofArts, 1920-1921. Londres / London 1963-1964 Goya and His Times. Londres/London,RoyalAcademyofArts, 19631964. Londres / London 1976 The Golden Age of Spanish Painting. Londres/London,RoyalAcademyofArts,1976. Londres / London 1982 Bartolom Esteban Murillo, 1617-1682. Londres/London,RoyalAcademyofArts,1982 Londres / London 1995 The Spanish Still-Life: from Velzquez to Goya. Londres/London,NationalGallery,1995. Madrid 1936-1940 Floreros y bodegones en la pintura espaola. Madrid,SociedadEspaoladeAmigosdelArte, 1936-1940. Madrid 1978-1979 D. Antonio de Pereda (1611-1678) y la pintura madrilea de su tiempo. Madrid,MuseodelPrado,19781979. Madrid 1983-1984 Pintura espanola de bodegones y floreros, de 1600 a Goya. Madrid,MuseodelPrado,1983-1984. Madrid 1986 Carreo, Rizi, Herrera y la pintura madrilea de su tiempo. Madrid,MuseodelPrado,1986. Madrid 1987 Rubens, copista de Tiziano. Madrid,MuseodelPrado,1987. Madrid, 19871988 Monedas hispnicas de los siglos XV y XVI. Madrid,BancodeEspaa,1987-1988. Madrid 1988 Zurbarn. Madrid,MuseodelPrado,1988. Madrid 1990 Velzquez. Madrid,MuseodelPrado,1990. Madrid 1992 Ribera, 1591-1652. Madrid,MuseodelPrado,1992. Madrid 1992-1993 Goya: la dcada de los Caprichos. Madrid,RealAcademiadeBellasArtes deSanFernando,19921993. Madrid 1995 La belleza de lo real: Floreros y bodegones espaoles del Museo del Prado, 1600-1800. Madrid,MuseodelPrado,1995. Madrid 1996 Goya: 250 aniversario. Madrid,MuseodelPrado,1996. Madrid 20022003 Arte y poesa: del amor y la guerra en el Renacimiento. Madrid,BibliotecaNacional,20022003. Madrid 2003 Tiziano. Madrid,MuseodelPrado,2003. Madrid 20032004 Espaa y Amrica: un ocano de negocios. Quinto centenario de la Casa de Contratacin (1503-2003). Madrid,RealAlczaryCasadelaProvincia, 2003-2004. Madrid 20042005 El retrato espaol: Del Greco a Picasso. Madrid,MuseodelPrado,2004-2005. Madrid 2006 El Retrato Espaol en el Prado: del Greco a Goya. Madrid,MuseodelPrado,2006. Madrid 2006-2007 Lo fingido verdadero: Bodegones espaoles de la coleccin Naseiro adquiridos por el Prado. Madrid,MuseodelPrado,20062007. Madrid 2007 El retrato espaol en el Prado: de Goya a Sorolla. Madrid,MuseodelPrado,2007. Madrid 20072008 Los Grecos del Prado. Madrid,MuseodelPrado,20072008. Madrid / Dallas 20052006 Juan van der Hamen y Len y la corte de Madrid. Madrid,PalacioReal,20052006;Dallas, MeadowsMuseum,2006. Mosc / Moscow 1998 Great Masterpieces. Mosc/Moscow,StatePushkin MuseumofFineArts,1998. Npoles / Naples 1992 Jos de Ribera. Npoles/Naples,MuseoCapodimonte,1992. Nueva York / New York 2007 From El Greco to Picasso: Time, Truth and History. NuevaYork/New York,GuggenheimMuseum, 2007. Oslo 1996 Francisco de Goya. Oslo,Nasjonalgalleriet,1996. Pars / Paris 1987-1988 Du Greco Picasso: Cinq sicles dart espagnol. Paris,MuseduPetitPalais,1987-1988. Pars / Paris / Nueva York / New York 2002-2003 Manet/Velzquez : the French Taste for Spanish Painting. Pars/Paris,MusedOrsay,2002-2003;Nueva York/New York,GuggenheimMuseum,2003. Roma / Rome 2003-2004 Velazquez, Bernini, Luca Giordano: Le Corti del Barocco. Roma/Rome, ScuderiedelQuirinale,2003-2004. San Sebastin 1993 Ribera, 1591-1652. SanSebastin,SaladeExposiciones Boulevard(Kutxa),1993. San Petersburgo / Saint Petersburg 2011 El Prado in the Ermitage. SanPetersburgo/Saint Petersburg, Ermitage,25February29May2011. Itinerante / Touring 2006-2007 El Retrato espaol en el Prado: del Greco a Goya. SantiagodeCompostela,salaCaixaGalicia, 2006;Salamanca,SaladeExposicionesCaja Duero,2006;Toledo,MuseodeSantaCruz, 2006;Alicante,MuseodeBellasArtesGravina, 20062007;Bilbao,Bilbo-BizkaikoKutxa,2007. Tokyo / Kyoto 1971-1972 The Art of Goya. Tokyo,NationalMuseumofWesternArt,1971 1972;Kyoto,MunicipalMuseum,1972. Tokyo / Nara / Nagoya 1986-7 El Greco. Tokyo,NationalMuseumofWesternArt,1986; Nara,PrefecturalMuseumofArt,1987;Nagoya, PrefecturalArtGallery,1987. Tokyo/Nagoya 1992 Spanish Still-Life and Flower Painting. Tokyo,NationalMuseumofWesternArt; Nagoya,NagoyaCityArtMuseum,1992. Tokyo 2002 Masterworks from the Prado. Tokyo,NationalMuseumofWesternArt,2002. Toledo 1958 Carlos V y su ambiente. Exposicin homenaje en el IV centenario de su muerte (1558-1958). Toledo,DireccinGeneraldeBellasArtes,1958. Valencia 1991-2 Jos de Ribera: Diez obras del Museo del Prado. Valencia,MuseodeBellasArtesdeValenciaSan PoV,19911992. Zaragoza / Bruselas / Brussels / Ciudad de Mxico / Mexico City 2008-10 El Greco: Toledo 1900. Zaragoza,ParaninfodelaUniversidadde Zaragoza,20082009;Bruselas/Brussels,Palais desBeaux-Arts,2009;CiudaddeMxico,Palacio deBellasArtes,2009.

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bIblIogrAfA / bibliography

Bibliografa / Bibliography
Aguilera 1946 E.M.Aguilera, Pintores espaoles del siglo xviii (Barcelona,1946) Alarcn 1987 ConchaAlarcnRomn,Catlogodeamuletos delMuseodelPuebloEspaol(Madrid,1987) Alcolea 1990 SantiagoAlcolea, El Greco(Barcelona,1990) Alcolea 1991 SantiagoAlcolea, Museo del Prado(Barcelona, 1991) Allende Salazar & Snchez Cantn 1919 JuanAllende-Salazar&FranciscoJavierSnchez Cantn, Retratos del Museo del Prado: Identificacin y rectificaciones(Madrid,1919) lvarez 2005 Mari-Terelvarez, The Soul of Spain,cat.exh. Albuquerque(Albuquerque,2005) lvarez de Sotomayor 1939 FernandolvarezdeSotomayor, Les chefsdoeuvre du Museo del Prado(Basel1939) lvarez de Sotomayor 1948 FernandolvarezdeSotomayor, Masterpieces of the Prado Museum(London,1948) lvarez Lopera 1993 JoslvarezLopera, El Greco: La obra esencial (Madrid,1993) lvarez Lopera 2005 JoslvarezLopera, El Greco(Madrid,2005) Alzuri 1999 MiriamAlzuri,ed.El bodegn espaol: de Zurbarn a Picasso,cat.exh.(Bilbao,1999) Anatra 1988 BrunoAnatra, Venezia e la Spagna(Milan,1988) Angulo 1968 DiegoAnguloiguez,Exposicindelasprincipalesadquisiciones...Archivo Espaol de Arte (1968) Angulo 1981 DiegoAnguloiguez,Murillo: Su vida, su arte, su obra,3vols.(Madrid,1981) Antonio & Orihuela 1995 T.AntonioandM.Orihuela,La belleza de lo real: Floreros y bodegones espaoles del Museo del Prado, 1600-1800,cat.exh.(Madrid,1995) Arte y poesa 2002 rte y poesa: el amor y la guerra en el ReA nacimiento(Madrid,2002) Ascione 1973 BenjaminoAscione,San Sebastiano nella storia en nell arte(Naples,1973) Aterido 2002 ngelAterido,El bodegn en la Espaa del Siglo de Oro(Madrid,2002) Aterido 2004 ngelAterido,Colecciones de pintura de Felipe V e Isabel Farnesio: Inventarios Reales(Madrid, 2004) Ayala Mallory 1991 NinaAyalaMallory,Del Greco a Murillo: la pintura espaola del siglo de oro, 1556-1700(Madrid, 1991) Banner 2009 LisaA.Banner,The religious patronage of the Duke of Lerma (1598-1621)(BurlingtonVT,2009) Bardi 1970 PietroMariaBardi, La obra pictrica de Velzquez (Barcelona,1970) Barnes et al. 2004 SusanJ.Barnesetal.,Van Dyck: a complete catalogue of the paintings(NewHavenandLondon, 2004) Baticle 1988 JeannineBaticle,Unmmeregardsurleroiet lenfant,Connaissance des arts439(1988) Bergstrm 1963 IngvarBergstrm,JuanvanderHamenyLen, Oeil108(1963),24-31 L Beroqui 1946 PedroBeroqui,Tiziano en el Museo del Prado (Madrid,1946) Beruete 1912 AurelianodeBeruete,Catlogo del Museo del Greco, Toledo(Madrid,1912) Beruete 1916 AurelianodeBeruete,Goya, pintor de retratos (Madrid,1916) Blade 2006 CharleneV.Blade,Creating the cult of St. Joseph and gender in the Spanish Golden Age(Princeton 2006) Boucher & Deslandes 1949 FranoisBoucherandYvonneDeslandes,Histoire du costume en occident de lantiquit nos jours (Paris,[1949]) Bouza 2009 FernandoBouza,DeRafaelaRiberaydeNpoles aMadrid.Nuevosinventariosdelacoleccin MedinadelasTorres-Stiglia(1641-1656),Boletn del Museo del PradoxxvII:45(2009) Breuer 1984 StephanieBreuer,Alonso Snchez Coello (Munich,1984) Brown 1982 ChristopherBrown,Van Dyck(Oxford,1982) Brown 1986 JonathanBrown,Velzquez, Painter and Courtier (NewHavenCT,1986) Brown 1986b JonathanBrown,Velzquez, pintor y cortesano (Madrid,1986) Brown 2002 JonathanBrown,TheDevotionalPaintingsofMurillo,en[in]Stratton-Pruitt,ed., Bartolom Esteban Murillo: Paintings from American Collections, cat.exh.KimbellArtMuseumandLosAngeles CountyMuseumofArt(NewYork,2002) Brown & Elliott 1980 JonathanBrownandJohnElliott, A Palace for a King: The Buen Retiro and the Court of Philip IV (NewHavenCT,1980) Brown & Elliott 1981 JonathanBrownandJohnElliott,Un palacio para un rey: el Buen Retiro y la corte de Felipe IV (Madrid,1981) Brown and Elliott 2002 TheSaleoftheCentury:ArtisticRelationsBetweenSpainandGreatBritain,1604-1655(New Haven,2002) Buenda & Gutirrez Pastor 1986 J.RogelioBuendaandIsmaelGutirrezPastor, Vida y obra del pintor Mateo Cerezo,1637-1666 (Burgos,1986) Cabezas 1680 JuanCabezas, Relacin verdadera en la que da noticia de los prodigios de la naturaleza que ha llegado a esta corte, en una nia gigante llamada Eugenia Martnez de la Villa de Brcena, del arzobispado de Burgos(Madrid,1680) Calvert 1908 AlbertF.Calvert,Goya(LondonandNewYork, 1908) Calvo 1996 FranciscoCalvoSerraller,Unretratomelanclico,en/inLuis Paret y Alczar 17461799(Madrid, 1996),pp.1342 Camn Aznar 1950 JosCamnAznar, Dominico Greco,2vols. (Madrid,1950) Camn Aznar 1970a JosCamnAznar,Dominico Greco,segunda edicincorregidayampliada(Madrid,1970) Camn Aznar 1970b JosCamnAznar,Pintura espaola del siglo XVI (Summa Artis)(Madrid,1970) Camn Aznar 1982 JosCamnAznar, Francisco de Goya (Zaragoza,1982) Caedo-Argelles 1982 CristinaCaedo-Argelles, Arte y teora: la Contrarreforma y Espaa(Oviedo,1982) Cascales 1911 JosCascalesyMuoz,Francisco de Zurbaran: su epoca, su vida y sus obras(Madrid,1911) Cavestany 1922 J.Cavestany,Pintoresespaolesdeflores,Arte EspaolXI:VI:2(1922),pp.124-135 Cavestany 1936 J.Cavestany, Floreros y bodegones en la pintura espaola,cat.exh.(Madrid,1936) Checa 1983 FernandoCheca, La pintura y escultura del Renacimiento en Espaa, 1450 1600(Madrid,1983) Checa 2008 FernandoChecaCremades, Velzquez: Obra completa(Madrid,2008) Cherry 1999 PeterCherry, Arte y naturaleza: el bodegn espaol en el Siglo de Oro(Madrid,1999) Cherry 2004 PeterCherry,LuisMelndezandthefruitsofa frustratedcareer, Luis Melndez: Still Lifes,cat. exh.NationalGalleryofIreland,2004(Dublin, 2004) Cherry 2006 PeterCherry, Luis Melndez: Still-LifePainter (Madrid,2006) Cherry 2010 PeterCherry,TheGoldenAgeofStill-LifePaintinginSpainandItaly, In the Presence of Things: Four Centuries of European Still-Life Painting,Lisboa/Lisbon,MuseoCalousteGulbenkian(Lisboa /Lisbon,2010) Comba 1982 ManuelCombaSigenza,EltrajedelasmadrileasenloscuadrosdeGoya,Academia55(1982) Cosso 1908 ManuelB.Cosso, El Greco,2vols.(Madrid,1908) Cosso 1981 L.Cosso,El Greco(Madrid,1981) Crowe & Cavalcaselle 1877-1878 JosephArcherCrowe&GiovanniBattistaCavalcaselle, Titian: His Life and Times(Londres/ London,1877-1878) Cruzada 1885 GregorioCruzadaVillaamil, Anales de la vida y de las obras de Diego de Silva Velzquez. Escritos con ayuda de nuevos documentos(Madrid,1885) Cust 1900 LionelCust, Anthony van Dyck: An Historical Study of His Life and Works(Londres/London,1900) de Andrs 1971 GregoriodeAndrs,Relacinannimadelsiglo XVIIsobreloscuadrosdelEscorial, Archivo Espaol de Arte44:173(1971) de los Santos 1681 FranciscodelosSantos, Descripcin del Real Monasterio de San Lorenzo del Escorial(Madrid, 1681) de Salas 1978 XavierdeSalas, Museo del Prado: adquisiciones de 1969 a 1977(Madrid,1978) de Salas 1978b XavierdeSalas, Gua de Goya en Madrid(Madrid, 1978) de Salas 1980 XavierdeSalas,NotasavariosretratosdeGoya, Academia50(1980),57 de Salas & Frati 1970 XavierdeSalas&TizianaFrati, La obra pictrica completa de El Greco(Barcelona,1970) Delenda 2009 OdileDelenda, Francisco de Zurbarn, 1598-1664, 2vols.(Madrid,2009) Delgado 1957 OsirisDelgado, Paret y Alczar(Madrid,1957) di Pietro & Baccheschi 1979 LucianodiPietro&EdiBaccheschi, El Greco (Barcelona,1979) Daz Padrn 1975 MatasDazPadrn,Museo del Prado. Catlogo de pinturas, Vol. 1: Escuela Flamenca. Siglo xvii (Madrid,1975) Daz Padrn 1981 MatasDazPadrn,400 aos de pintura espaola, cat.exh.(Caracas,1981) Daz Padrn 1995 MatasDazPadrn,Museo del Prado. Catlogo de pinturas, Vol. 1: Escuela Flamenca. Siglo xvii (Madrid,1995) Daz Padrn 1996 MatasDazPadrn, El siglo de Rubens en el Museo del Prado: catlogo razonado de pintura flamenca del siglo xvii en el Museo del Prado (Barcelona,1996) Daz Padrn 2008 MatasDazPadrn,Reflexionesyprecisionesdel retratodeVanDyckenlapatriadeVelzquez, ArchivoEspaoldeArte,no.extra(2008),189-212 Daz Padrn 2009 MatasDazPadrn,El siglo de Rubens en el Museo del Prado. Catlogo razonado de pintura flamenca del siglo xvii(Barcelona,2009) Daz Padrn & Orihuela 1983 MatasDazPadrn&MercedesOrihuela, La escuela flamenca del siglo xvii(Madrid,1983) Eeckhout & Ballegeer 1966 P.Eeckhout&J.P.Ballegeer,El Greco. 1541-1614, cat.exh.(Gante/Ghent,1966) El Greco and his workshop 2007 E l Greco and his workshop,cat.exh. (Madrid,2007) El Greco: Toledo... 2008 ElGreco:Toledo,1900. (Madrid, 2008) Espinosa Martn 1989 MaradelCarmenEspinosaMartn,Aportaciones documentalesalosbodegonesdeLuisMelndez,BoletndelMuseodelPradoX(1989) Esteman 1980 ClaudeEsteman,Tout loeuvre peint de Murillo (Pars/Paris,1980) Fernndez Miranda 1988 FernandoFernndezMiranda, Inventarios Reales: Carlos III (1789)(Madrid,1988) Gllego & Gudiol 1976 JulinGllego&JosGudiol, Zurbarn, 15981664,cat.exh.(Barcelona,1976) Gllego, Prez Snchez & Mena 1985 JulinGllego,AlfonsoE.PrezSnchez&ManuelaMena,Goya,cat.exh.Brussels,MuseRoyal deBeaux-Arts(Bruselas/Brussels,1985) Garrido 1990 CarmenGarrido,Estudiotcnico,inAlonso Snchez Coello y el retrato en la corte de Felipe II, cat.exh.Madrid,MuseodelPrado(Madrid,1991), pp.215-243 Garrido 1992 CarmenGarrido,Velzquez: Tcnica y evolucin (Madrid,1992) Garrido & Cherry 2004 CarmenGarrido&PeterCherry,Luis Melndez: La serie de bodegones para el Prncipe de Asturias (Madrid,2004) Gassier & Wilson 1974 PierreGassier&JulietWilson,Vida y obra de Francisco de Goya[1970](Barcelona,1974)

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Gaya 1952 JuanAntonioGayaNuo,LuisParetyAlczar, B oletn de la Sociedad Espaola de Excursiones lvi (1952),87-153 Gaya 1978 JuanAntonioGayaNuo,La obra pictrica completa de Murillo(Barcelona,1978) Glendinning 1992 NigelGlendinning,Goya: la dcada de los Caprichos, retratos 1772-1804,cat.exh.Madrid, RealAcademiadeBellasArtesdeSanFernando (Madrid,1992) Gombrich 1979 Gombrich, The Story of Art(Oxford,1979) Gritsai 1996 NataliaGritsai,Anthony Van Dyck(Bournemouth, 1996) Gschwend 2003 LosprimerosabanicosorientalesdelosHabsburgos,inOrienteenPalacio.Tesorosartsticosen lascoleccionesrealesespaolas(Madrid,2003), pp.267-271 Gudiol 1970 JosGudiol,Goya (1746-1828): Biografa, estudio analtico y catlogo de pinturas(Barcelona,1970) Gudiol 1971 JosGudiolRicart,Domnikos Theotokpulos, El Greco. 1541-1614(Barcelona,1971) Gudiol & Marraut 1984 JosGudiol&RobertMarraut,Goya, 1746-1828: Biographie et etude analytique et catalogue de ses peintures(Barcelona,1984) Guinard 1960 PaulGuinard,Zurbarn et les peintres espagnols de la vie monastique(Pars/Paris,1960) Guinard & Frati 1975 PaulGuinard&TizianaFrati,Toute loeuvre peinte de Zurbaran(Pars/Paris,1975) Gutirrez Alonso 1983 LuisC.GutirrezAlonso,PrecisionesalacermicadelosbodegonesdeLuisEgidioMelndez, B oletn del Museo del Prado4:12(1983) Harris [1940] EnriquetaHarris,The Prado: Treasure House of the Spanish Royal Collections(Londres/London& NuevaYork/New York,[1940]) Harris 1975 EnriquetaHarris,Goya(Londres/London,1975) Harris 2003 EnriquetaHarris,Velzquez(Madrid,2003)

Henares Cullar 2001 IgnacioL.HenaresCullar,Alonso Cano: espiritualidad y modernidad artstica,cat.exh.Granada, HospitalReal,2001-2002(Granada,2001) Informacin... 1999 InformacindelMuseodelPrado.IV:Adquisiciones,Boletn del Museo del Prado 35(1999), 178-180 Jaff 1989 MichaelJaff,Rubens: All his Works(Milan,1989) Jordan 1964-1965 WilliamB.Jordan,JuanvanderHamenyLen:a Madrilenianstill-lifepainter,Marsyas 12(1964-5), 52-69 Jordan 1967 WilliamB.Jordan,Juan van der Hamen y Len, diss.NewYorkUniversity,2vols(NuevaYork/ New York,1967) Jordan 1985 WilliamB.Jordan,Spanish Still-Life in the Golden Age, 1600-1650,cat.exh.(FortWorthTX,1985) Jordan 2005 WilliamB.Jordan,Juan Van der Hamen y Len and the Court of Madrid,cat.exh.Madrid/Dallas 2005-6(NewHavenCT,2005) Jordan 2009 WilliamB.Jordan,Juan van der Hamen y Len y la corte de Madrid,cat.exh.(Madrid,2009) Jordan & Cherry 1995 WilliamB.Jordan&PeterCherry, The Spanish Still-Life: from Velazquez to Goya,cat.exh.(Londres/London,1995) Justi 1888 [1999] CarlJusti,Velzquez y su siglo(Bonn,1888)[Madrid,1999] Kehrer 1918 H.Kehrer,Francisco de Zurbaran(Munich,1918) Kusche, 1964 MaraKusche,Juan Pantoja de la Cruz (Madrid,1964) Kusche 2003 MaraKusche,Retratos y retratadores: Alonso Snchez Coello y sus competidores Sofonisba Anguissola, Jorge de la Ra y Roln Moys(Madrid, 2003) Lafuente 1935 EnriqueLafuenteFerrari,LapeinturedebodegonesenEspagne,Gazette des Beaux-Arts,serie 6,xIv(1935),169-183 Lafuente 1947 EnriqueLafuenteFerrari,Antecedentes,coincidenciaseinfluenciasdelartedeGoya(Madrid, 1947)

Lafuente 1953 EnriqueLafuenteFerrari,Breve historia de la pintura espaola(Madrid,1953) Lafuente 1977 EnriqueLafuenteFerrari,El Prado: La pintura nrdica(Madrid1977) Lafuente 1978 EnriqueLafuenteFerrari,El Prado: del Romnico al Greco(Madrid,1978) Lafuente 1978b EnriqueLafuenteFerrari,El Prado: Pintura espaola de los siglos xvii y xviii(Madrid,1978) Larsen 1988 EricLarsen,The Paintings of Anthony van Dyck,2 vols.(Dsseldorf,1988) Legadre & Hartman 1937 M.Legadre&A.Hartmann,Domenico Theotocopouli dit El Greco(Pars/Paris,1937) Lpez Rey 1963 JosLpezRey,Velzquez: A Catalogue Raisonn of His Oeuvre(Londres/London,1963) Lpez-Roberts 1931 MauricioLpez-Roberts,Impresiones de arte (colecciones particulares)(Madrid,1931) Luna 1973 JuanJosLuna,ObrasdeJeanPillementen coleccionesespaolas,ArchivoEspaoldeArte 187(1973),423-433 Luna 1982 JuanJosLuna,Luis Melndez, bodegonista espaol del siglo xviii(Madrid,1982) Luna 1984a JuanJosLuna,Gua actualizada del Prado(Madrid,1984) Luna 1884b JuanJosLuna,Miscelneasobrebodegones: deMelndezaGoya,Goya183(1984),151-157 Luna 1991 JuanJosLuna,LuisParetyAlczar,inLuis Paret y Alczar,cat.exh.Bilbao1991,pp.21-58 Luna 2007 JuanJosLuna,From Titian to Goya: Great Masters in the Prado,cat.Beijing/Shanghai(Beijing, 2007) Luna 2009 JuanJosLuna,El bodegn espaol en el Prado: de Van der Hamen a Goya,cat.exh.(Madrid,2009) Luna & Moreno 1996 JuanJosLuna&MargaritaMorenodelasHeras, Goya: 250 aniversario,cat.Madrid,Museodel Prado(Madrid,1996)

Madrazo 1872 PedrodeMadrazo,Catlogo Descriptivo e Histrico del Museo del Prado de Madrid. Parte Primera: Escuelas Italianas y Espaolas(Madrid,1872) Maran 1945 GregorioMaran,LaMonstruadeCarreo,El Correo Erudito(1945) Maras 1991 FernandoMaras,El Greco(Madrid,1991) Martin 1972 JohnR.Martin,The Decorations for the Pompa Introitus Ferdinandi(CorpusRubenianum,ed. LudwigBurchard,PartXVI)(Londres/London& NuevaYork/New York,1972) Martn 1985 RicardoMartn,El gran arte en la pintura,2vols. (Barcelona,1985) Martnez-Burgos 2005 PalmaMartnez-BurgosGarca,El Greco: el pintor humanista. Obra completa(Madrid,2005) Martnez Gil 1993 FernandoMartnezGil,Muerte y sociedad en la Espaa de los Austrias(Madrid,1993) Marzolf 1961 RosemaryMarzolf,The life and work of Juan Carreo de Miranda (1614-1685)(Michigan,1961) Mayer 1926 AugustL.Mayer,Domenico Theotocopuli, El Greco: Kritisches und illustriertes Verzeichnis des Gesamtwerkes(Munich,1926) Mena 1982 ManuelaB.MenaMarqus,Bartolom Esteban Murillo, 1617-1682(Londres/London,1982) Mena 2000 ManuelaMenaMarqus,Goya y la pintura espaola del siglo xviii,guadelPrado/guide(Madrid, 2000) Menndez Pidal et al. 1968 RamnMenndezPidal,M.ArtolaGallego,L. SecoSerrano,La Espaa de Felipe VII(Madrid, 1968) Michiels 1982 AlfredMichiels,Van Dyck et ses lves(Pars/ Paris,1982) Moir 1994 AlfredMoir,Anthony Van Dyck(Londres/London, 1994) Montesa 1967 MarqusdeMontesa,HerldicaenelMuseodel Prado,Arte Espaol 25:2(1967)

Morales 1994 JosLuisMoralesyMarn,Goya: catlogo de la Pintura,cat.Zaragoza,(Zaragoza,1994) Morales 1997 JosLuisMoralesyMarn,Luis Paret y Alczar (Zaragoza,1997) Moreno 1997 MargaritaMorenodelasHeras,Goya: Pinturas del Museo del Prado(Madrid,1997) Navarrete et al. 2009 BenitoNavarretePrietoetal.,El joven Murillo,cat. exh.Bilbao,MuseodeBellasArtes(Bilbao,2009) Noul et al. 1939 M.Noul,F.lvarezdeSotomayor,P.Muguruzaet al.,Les chefs doeuvre du Muse du Prado(Ginebra/Geneva,1939) Orso 1986 StevenN.Orso,Philip IV and the Decoration of the Alczar of Madrid(PrincetonNJ,1986) Ortega Caldern 1996 JosMaraOrtegaCaldern,Todo el Prado (Madrid,1996) Palomino [1724] 1947 E l Parnaso espaol, pintoresco y laureado (1724) (Madrid,1947) Pantorba 1946 BerardinodePantorba,Jos de Ribera (Barcelona,1946) Pantorba 1955 BernardinodePantorba,La vida y la obra de Velzquez(Madrid,1955) Prez Preciado 2010 JosJuanPrezPreciado,El Marqus de Legans y las artes(tesisdoctoral,UniversidadComplutense,Madrid,2010) Prez Snchez 1969 AlfonsoE.PrezSnchez,DiezaosdeadquisicionesparaelMuseodelPrado,Goya90(1969) Prez Snchez et al. 1976 AlfonsoE.PrezSnchez,JavierdeSalas,Nigel Glendinningetal.,The Golden Age of Spanish Painting,cat.exh.TheRoyalAcademyofArts (London,1976) Prez Snchez 1978 AlfonsoE.PrezSnchez, D. Antonio de Pereda (1611-1678) y la pintura madrilea de su tiempo, cat.exh.(Madrid,1978) Prez Snchez 1983 AlfonsoE.PrezSnchez,Pintura espaola de bodegones y floreros, de 1600 a Goya,cat.exh. (Madrid,1983)

Prez Snchez 1985 AlfonsoE.PrezSnchez,Catlogo de las pinturas. Museo del Prado(Madrid,1985) Prez Snchez 1985b AlfonsoE.PrezSnchez,Juan Carreo de Miranda (1614-1685)(Avils,1985) Prez Snchez 1986 AlfonsoE.PrezSnchez,Carreo, Rizi, Herrera y la pintura madrilea de su tiempo,cat.exh. (Madrid,1986) Prez Snchez 1987 AlfonsoE.PrezSnchez,La nature morte espagnole du XVIIme sicle Goya(Friburgo/Friburg, 1987) Prez Snchez, Anes et al. 1988 AlfonsoPrezSnchez,GonzaloAnes,M.Moreno etal,Goya y el espritu de la Ilustracin,cat.exh. Madrid,MuseodelPrado(Madrid,1988) Prez Snchez, Sayre et al. 1989 AlfonsoPrezSnchez,EleanorSayre,G.Aneset al.,Goya and the Spirit of the Enlightment(Boston, 1989) Prez Snchez et al. 2002 AlfonsoE.PrezSnchez,BenitoNavarreteand RafaelAlonsoAlonso,El Greco: Apostolados(La Corua,2002) Pita Andrade 1985 JosManuelPitaAndrade,El Greco(Milan,1985) Poler 1857 VicentePoler,Catlogo de los cuadros del Real Monasterio de San Lorenzo, llamado del Escorial (Madrid,1857) Ports 1998-99 JavierPortsPrez,Felipe II. Un monarca y su poca: los hombres y las tierras del rey,exh.cat, (Valladolid,1998-99) Ports 2001 JavierPorts, Pintura barroca espaola. Gua. (Madrid,2001) Ports 2006 JavierPorts,Lo fingido verdadero: bodegones espaoles de la coleccin Naseiro adquiridos por el Prado,cat.exh.Madrid,MuseodelPrado (Madrid,2006) Rooses 1890 MaxRooses,LOeuvre de Peter Paul Rubens,(Amberes/Antwerp,1890) Ruiz Gmez 2001 LeticiaRuizGmez,El Greco y la pintura espaola del Renacimiento. Gua.(Madrid,2001) Ruiz Gmez 2007 LeticiaRuizGmez,El Greco en el Museo del Prado: Catlogo razonado,cat.exh.(Madrid,2007)

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Ruskin 1903 JohnRuskin,The Works of John Ruskin(Londres/ London,1903) Snchez Cantn 1940 FranciscoJavierSnchezCantn,Lamonstrua desnudadeCarreoenelMuseodelPrado,El Correo EruditoIV:5(1940),p.13 Snchez Cantn 1962a FranciscoJavierSnchezCantn,ElMuseodel Prado:Reformasyadquisiciones,1960-1962, Goya50-51(1962) Snchez Cantn 1962b FranciscoJavierSnchezCantn,ElMuseodel Prado:Adquisiciones,Archivo Espaol de Arte 35(1962) Snchez Cantn 1965 FranciscoJavierSnchezCantn,Escultura y pintura del siglo xviii. Ars Hispaniae XVII(Madrid, 1965) Snchez Cantn & de Salas 1972 FranciscoJavierSnchezCantn&Xavierde Salas,Catlogo de las pinturas, Museo del Prado (Madrid,1972) Snchez Montero et al. 2001 RafaelSnchezMontero,JoslvarezLoperaand CarmenGarrido,El Greco: ltimas expresiones, cat.exh.(Granada,2001) Snchez Piuela 1971 MaraJosSnchezPiuela,Goyaenlamodade sutiempo,Goya100(1971),232-239 Schlz-Hansel 2003 MichaelSchlz-Hansel,El Greco (Colonia/Cologne,2003) Schroth 2003 SarahSchroth,Representandoalosapstoles: notassobreelapostoladodeElGrecoenel MuseodelPrado,inEl Greco(Barcelona,2003) Soria 1944 MartnS.Soria,Zurbaran:Astudyofhisstyle, azette des Beaux-Arts XXV(1944),32-48and G 153-174 Soria 1953 MartnS.Soria,The Paintings of Zurbaran(Londres/ London,1953) Spinosa 1979 NicolaSpinosa,La obra pictrica completa de Ribera(Barcelona,1979) Spinosa 2008 NicolaSpinosa,Ribera: La obra pictrica completa (Madrid,2008) Suida 1935 WilhelmSuida,Le Titien(Paris,1935)

Sutton 1993 PeterSutton,The Age of Rubens,cat.exh.Boston, MuseumofFineArts,Sept.22,1993-Jan.2,1994, andToledoOH,ToledoMuseumofArt,Feb. 2-April24,1994(Boston,Gante/Ghent&Nueva York/New York,1993) Tomlinson 1990 JanisA.Tomlinson,TheProvenanceandPatronageofLuisMelndezsAranjuezStillLifes, urlington Magazine132(1990),84-9 B Trens 1946 ManuelTrens,Mara: Iconografa de la Virgen en el arte espaol(Madrid,1946) Triad 1975 JoanRamnTriad,JuanVanDerHamenbodegonista,Estudios Pro Arte1(1975),31-76 Troutman, Francfort et al. 1963 PhilipTroutman,EnriquetaHarrisFrancfortet al.,Goya and His Times,cat.exh.London,Royal Academy(Londres/London,1963) Tufts 1972 EleanorTufts,LuisMelndez,Documentsonhis LifeandWork,The Art Bulletin54(March1972), 63-8 Tufts 1982 EleanorTufts,LuisMelndez,still-lifepainter sanspareil,Gazette des Beaux-Arts99/100(1982) Tufts 1985 EleanorTufts,Luis Melndez, Eighteenth-Century Master of the Spanish Still-Life(ColumbiaMO, 1985) Valcanover 1960 FrancescoValcanover,Tutta la pittura di Tiziano (Milan,1960) Valdivieso 1991 EnriqueValdivieso,Murillo: sombras de la tierra, luces del cielo(Madrid,1991) Valdivieso 2010 EnriqueValdivieso,Murillo: A Catalogue Raisonn of his Paintings(Madrid,2010) Valera 2000 L.ValeraenEl linaje del emperador,cat.(Madrid, 2000) Vergara 1999 AlexanderVergara,Rubens and His Spanish Patrons(Cambridge&Londres/London,1999) Vergara 1999b AlexanderVergara,The Presence of Rubens in Spain,2vols.(AnnArborMI,1999) Vey 2004 HorstVey,VanDyckinAntwerpandBrussels,in an Dyck: A Complete Catalogue of the Paintings V (NewHavenCT&Londres/London,2004)

Vizaa 1887 CondedelaVizaa,Goya: su tiempo, su vida, sus obras(Madrid,1887) von Loga 1923 ValerianvonLoga,Die Malerei in Spanien vom XIV. bis XVIII. Jahrhundert(Berlin,1923) Vosters 1993 SimonA.Vosters,Rubens y Espaa(Boston,1993) Wethey 1962 HaroldE.Wethey,El Greco and his School,2vols. (Princeton,1962) Whethey 1967 HaroldE.Wethey,El Greco y su escuela(Madrid, 1967) Wethey 1969 HaroldE.Wethey,The Paintings of Titain(Londres/ London,1969) Wethey, 1971 HaroldE.Wethey,The paintings of Titian, II: The Portraits(Londres/London,1971) Young 1976 E.Young,NewPerspectivesonSpanishStill-Life PaintingintheGoldenAge,The Burlington MagazineCXVIII(1976),203-214 Zurbarn 1988 Z urbarn,cat.exh.(Madrid,1988)

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AGRADECIMIENTOS / ACkNowLEdGEMENTS ElMuseodeArtedePonceagradeceprofundamentealassiguientes personas,empresaseinstitucionesyaquienesprefirieronmantenerse annimosqueconsugenerosoapoyohanhechoposibleestaexposicin/ The Museo de Arte de Ponce wishes to thank the following people, companies and institutionsas well as those who preferred not to be mentioned by name who have made this exhibition possible through their generous support: AllanD.Salomont,EmbajadordelosEstadosUnidosdeAmricaenEspaay Andorra/US Ambassador to Spain and Andorra. JorgeDezcallar,EmbajadordeEspaaenlosEstadosUnidosdeAmrica/ Spanish Ambassador to the US. RobertMenndez,SenadordelosEstadosUnidos/US Senator. EduardoGarrigues,CnsulGeneraldeEspaaenPuertoRico/ Consul General of Spain in Puerto Rico. CharoOtegui,PresidentadeAc/eAccinCulturalEspaola/ President of ac/e Accin Cultural Espaola. CarlosAlberdiAlonso,DirectorGeneraldeRelacionesCulturalesyCientficas delaAgenciaEspaoladeCooperacinInternacionalparaelDesarrollo/ Director General for Cultural and Scientific Relations of Spains Agency for International Cooperation and Development. JavierHidalgo,PresidentedeBancoSantanderdePuertoRico/ President of Banco Santander, Puerto Rico. CharoLpezMeras,DirectoradeProyectosCulturalesdelaFundacinBanco Santander/Director of Cultural Projects of the Banco Santander Foundation. MarioGonzlez,DirectorEjecutivodelaCompaadeTurismodePuerto Rico/Executive Director of the Puerto Rico Tourism Company. CarlosUnanue,PresidentedeGoyaFoodsdePuertoRico/President of Goya Foods, Puerto Rico. SilviaAlvarezCurbelo LidiaAravena RichardAste MichelleA.Balaguer VelmarieBerlingeri CecilleBlondet ElenaCenalmorBruquetas MartaMichelleColn JohnCook ElisadOrs ZoralideFeria EvadelaOssa ArlettedelaSerna JosLuisDez WilliamU.Eiland GabrieleFinaldi PilarGomez MaraDoloresGmezdeAranda CarlosGonzlez-Jaime CarmenGonzlezLpez-Briones LauraM.Gould CherylHartup AnaMargaritaHernndez MaraEugeniaHidalgo AndrewHurley SuzetteJimnez MilenaLugo KarinaMarotta VanessaMartnez MaraMelndezAltieri RaquelMesa RachelMohl MarcosMontero CsarMordacci MarisolNavas DannyOBrien RobertoOrtiz PabloPrezdOrs GloriaPrez-Salmern MiriamQuintero JosRiello SantiagoRivera IvelisseRivera EdnaRodrguez MarcosRodrguezEma LauraRossi EmilioRuiz GraciaSnchez ngelSantiago CsarSesio JuanCarlosSotomonte BenjamnVlez AliceWhelihan

CRDITOS / CREdITS Proyecto y coordinacin general / Project and General Coordination AgustnArteagayGabrieleFinaldi Curadores de la exposicin y editores del catlogo / Exhibition Curators and Catalogue Editors CherylHartupyPabloPrezdOrs Textos / Catalogue Entries JoslvarezLopera JudithAraLzaro ngelAterido TrinidaddeAntonio GabrieleFinaldi CherylHartup LisaLipinski JuanJ.Luna ManuelB.MenaMarqus PabloPrezdOrs JavierPorts LeticiaRuiz Fichas tcnicas y bibliografa / Technical Information and Bibliography PabloPrezdOrs LauraRossi Coordinacin / Coordination JordiPenas Edicin y traducciones / Edition and Translation MaraEugeniaHidalgo AndrewHurley Fotografa / Photography MuseoNacionaldelPrado(JosBaztnyAlbertoOtero) MuseodeArtedePonce Diseo del catlogo / Catalogue design SesioDesign(CsarSesioyCsarMordacci) Impresin y encuadernacin / Printing and Binding ModelOffsetPrinting,Humacao,PuertoRico. ElMuseodeArtedePoncecuentaconelapoyodelGobiernodel EstadoLibreAsociadodePuertoRicoatravsdelInstitutodeCultura Puertorriquea,yagradeceelcontinuadoapoyoinsitucionaldelNational EndowmentfortheArts,elNationalEndowmentfortheHumanities,el InstituteofMuseumandLibraryServicesylaSamuelH.KressFoundation. /The Museo de Arte de Ponce is supported by the Government of the Commonwealth of Puerto Rico through the Instituto de Cultura Puertorriquea, and appreciates the continued institutional support of the National Endowment for the Arts, the National Endowment for the Humanities, the Institute of Museum and Library Services and the Samuel H. Kress Foundation.

JUNTA DE SNDICOS FUNDACIN LUIS A. FERR, INC. / BOARD OF TRUSTEES THE LUIS A. FERR FOUNDATION, INC. MaraLuisaFerrRangel Presidenta/ President SilviaAguil AntonioLuisFerrRangel JaimeFonalledas HctorM.Laffitte MaraMartnezdelaCruz JosMenndezCortada RobertoSerralls ngelO.TorresIrizarry BenignoTrigoFerr LuisTrigoFerr Sndicos/ Trustees RosarioJ.Ferr PresidentaEmrita/ President Emeritus AlbertoParacchini J.AdalbertoRoig,Jr. MiembrosEmritos/ Members Emeritus EtienneTotti Secretario,JuntadeSndicos/ Secretary, Board of Trustees OrlandoVzquez Tesorero/ Treasurer JosefinaPasarell AsistentedelaPresidenta/ Assistant to the President MUSEO DE ARTE DE PONCE Direccin Ejecutiva / directors office AgustnArteaga PrincipalOficialEjecutivoyDirector/ Chief Executive Officer and Director EdnaI.Rodrguez AsistentedelPrincipalOficialEjecutivo yDirector/ Assistant to the Chief Executive Officer and Director Desarrollo / development CecilleM.BlondetPassalacqua DirectoradeDesarrolloyAsuntosExternos/ Director of Development and External Affairs MarisolNavasRodrguez GerentedeComunicaciones,Mercadeoy RelacionesPblicas/ Communications, Marketing, and Public Relations Manager NataliaK.lvarezRavelo CoordinadoradeEventosEspeciales/ Special Events Coordinator MarcosG.MonteroGonzlez PreparadordePropuestas/ Grant Writer JessicaFernndezCarranza CoordinadoradeRelacionesconlaComunidad/ Community Relations Coordinator NormaI.TorresMarrero CoordinadoradeDesarrollo/ D evelopmentCoordinator

EdnaLizGuzmnMoyett CoordinadorayAsistenteAdministrativa deDesarrollo/ Coordinator and Administrative Assistant for Development MariaL.HernndezMiller AsistenteAdministrativa/Administrative Assistant Curadura / Curatorial department CherylHartup CuradoraenJefe/ Chief Curator PabloPrezdOrz CuradorAsistentedeArteEuropeo/ A ssistant Curator of European Art MaraArlettedelaSerna CuradoraAsistente/ Assistant Curator LauraRossiGarca CoordinadoradeExhibicionesyAsistente Curatorial/ Exhibitions Coordinator and Curatorial Assistant Educacin / Education AnaMargaritaHernndez EducadoraenJefeyEncargadadeProgramas deEscuelasyFamilias/ Chief Educator and Head of School and Family Programs CrystalJ.Bell CoordinadoradeEducacin/ Education Coordinator KathieJ.Elias Educadora/ Educator Biblioteca de Arte Rosario Ferr / Rosario Ferr Art Library AidaE.BezCaraballo BibliotecariaenJefe/ Chief Librarian JanniceSolerAranzamendi CatalogadoradelaBiblioteca/ Cataloging Librarian Archivo Histrico Luis A. Ferr / Luis A. Ferr Historic Archive SofaCnepaEkdahl ArchivistaenJefe/Chief Archivist Centro de Conservacin Anton J. Konrad / Anton J. konrad Conservation Center LidiaAravena ConservadoraenJefe/ Chief Conservator ngelD.SantiagoTorres ConservadordeObjetosTridimensionales/ onservator of Three-Dimensional Objects C GloriaJ.Irizarry AsistenteenConservacindePinturas/ Assistant Conservator of Painting JohnVargasCuevas Tcnico,LaboratoriodeConservacin/ Conservation Laboratory Technician Registradura / Registrars office ZoraliDeFeria JefedeRegistroyExposiciones/ Chief Registrar and Head of Exhibitions MilenaLugoCarbonell RegistradoraAuxiliar/ Associate Registrar

RobertoOrtzCintrn AsistenteenManejodeColecciones/ Collections Management Associate Finanzas y Administracin / Finance and Administration MiriamB.QuinteroCasanovas DirectoradeFinanzasyAdministracin/ Director of Finance and Administration NancyI.ColnFernndez GerentedeRecursosHumanos/ Human Resources Manager FloribethAncianiOrtiz GerentedeFinanzas/ Finance Manager LuisT.Muiz Contable/ Accountant MaricelyRiveraCartagena Contable/ Accountant MarthaE.FernndezLeal GerentedeAdministracin/ Administration Manager LuisJ.TorresMicheli Coordinador,Tienda,Facilidades yAdmisiones/ Coordinator, Store, Facilities and Admissions EvelynMartnezLagares RecepcionistayAsistenteAdministrativa/ Receptionist and Administrative Assistant Facilidades y Seguridad / Facilities and Security EmilioA.RuizdeJess GerentedeMantenimiento,Facilidades ySeguridad/ Maintenance, Facilities and Security Manager JosA.MartnezIzquierdo SupervisordeTecnologadelaInformacin/ Information Technology Supervisor ngelA.Rodrguez EspecialistaenSistemasdeInformaciny Telecomunicaciones/ Systems Information and Telecommunications Specialist MonserrateMuizMaldonado SupervisordeMantenimientoyServicios/ Mantenance and Utilities Supervisor ElvinRiveraPibernus SupervisordeSeguridad/ Security Supervisor HumbertoWilson TcnicodeServicios/ Service Technician PedroRinaldiArroyo EspecialistaenMantenimientoyServicios/ Maintenance and Utilities Specialist

ISBN: 9780983020844 Library of Congress control number: 2011941823

Agradecemoselcontinuorespaldodenuestroscolaboradores/We appreciate the continuous support of our collaborators.