In 1814 who completed the two paintings The Second of May 1808 and The Third of May 1808, both now exhibited in the Prado in Madrid?
"May"", ""Guernica"", and the ""Execution of the Emperor Maximilian"" in the same room. Also in the room was Picasso's ""Massacre in Korea"", painted in 1951 during the Korean War—an even more direct reference to the composition of ""The Third of May"". The perpetrators in this painting were intended to be the United States Army or their United Nations allies. Aldous Huxley wrote in 1957 that Goya lacked Rubens' ability to fill the canvas with an ordered composition; but he considered ""The Third of May"" a success because Goya ""is speaking in his native language, and he is therefore able to"
"but it was not until 1872 that ""The Third of May"" was listed in the Prado's published catalog, under the title ""Scene of the Third of May 1808"". Both the ""Third"" and ""Second of May"" suffered damage in a road accident while being transported by truck to Valencia for safety during the Spanish Civil War, apparently the only time they have left Madrid. Significant paint losses to the left side of the ""Second of May"" have been deliberately left unrepaired. Restoration work to both paintings was done in 2008 in time for an exhibition marking the bicentennial of the uprising."
"influenced by Goya's ""The Third of May 1808"". The final work, painted in 1868–1869 is now held by the Kunsthalle Mannheim. The painting is signed by Manet in the lower left corner but bears the date of Maximilian's execution in 1867, despite being painted in 1868–1869. Fragments of an earlier and larger painting from about 1867–1868 are held by the National Gallery in London. Parts of that work were probably cut off by Manet, but it was largely complete on his death. Other parts were sold separately after his death. The surviving pieces were reassembled by Edgar Degas and they"
"A replica of the latter of the two, with variations, is in the Liria Palace in Madrid, though this is attributed to another painter. Until the 19th century the painting was misidentified as a portrait of Infanta Maria Theresa of Spain, child of Philip IV of Spain's first marriage (with Elisabeth of France) and later wife of Louis XIV of France. In an 1872 catalogue by the painter Pedro de Madrazo, then the Prado's director, it was still misidentified in this way. Later research revealed that it actually is Margaret Theresa, child of Philip IV's second marriage to Mariana of"
"by Spanish post-romanticist writer Gustavo Adolfo Bécquer and by Francisco Goya's painting ""The Third of May 1808"". Toledo, 1808. The city has been occupied by French Napoleonic troops. A firing squad executes a small group of Spanish rebels who cry out ""Long live chains!"" or ""Death to the ""gabachos""!"" -a Spanish pejorative term for ""Frenchmen""-. The troops are encamped in a Catholic church which they desecrate by drinking, singing, and eating the communion wafers. The captain caresses a statue of Doña Elvira de Castañeda and is knocked unconscious by the statue of her husband, Don Pedro López de Ayala. In"
"still visible, though it was otherwise undamaged. It was later installed in the Royal Palace of Madrid and he then went to the Museo del Prado, in whose inventories it first appears in 1834. In 2004, the painting underwent a complete restoration. Adoration of the Magi (Rubens, Madrid) The Adoration of the Magi is a very large oil painting by the Flemish Baroque painter Peter Paul Rubens. He first painted it in 1609 and later gave it a major reworking between 1628 and 1629 during his second trip to Spain. It is now in the Museo del Prado in Madrid."
"not. The war began on the night of 2 May 1808, and was immortalized by Francisco Goya's painting ""The Second of May 1808"", also known as ""The Charge of the Mamelukes"". From the outbreak of the Spanish revolt against the Bonapartist regime in 1808, Napoleon's forces faced both Spanish armies and partisans, joined later by British and Portuguese armies under Arthur Wellesley. The Spanish organized an interim Spanish government, the Supreme Central Junta and called for a Cortes to convene with representatives from all the Spanish provinces throughout the worldwide empire, in order to establish a government with a firm"
"wife Josefa's death in 1812, he was painting ""The Second of May 1808"" and ""The Third of May 1808"", and preparing the series of etchings later known as ""The Disasters of War"" (""Los desastres de la guerra""). Ferdinand VII returned to Spain in 1814 but relations with Goya were not cordial. The artist completed portraits of the king for a variety of ministries, but not for the king himself. While convalescing between 1793–1794, Goya completed a set of eleven small pictures painted on tin that mark a significant change in the tone and subject matter of his art, and draw"
"and wounded on the frozen battlefield. In contrast, Goya's large paintings ""The Second of May 1808"" and ""The Third of May 1808"", perhaps consciously conceived as a riposte to Gros, and his related series of 82 etchings, ""The Disasters of War"" (Spanish: ""Los Desastres de la Guerra""), emphasized the brutality of the French forces during the Peninsular War in Spain. British depictions of the Napoleonic Wars continued the late 18th century patterns, often on a larger scale, with the death of Admiral Horatio Nelson quickly producing large works by Arthur William Devis (""The Death of Nelson, 21 October 1805"") and"
"Today it is housed in the Museo del Prado, Madrid. Man Mocked by Two Women Man Mocked by Two Women or Women Laughing or (Spanish: Dos Mujeres y un hombre) or The Ministration (Spanish: Dos Mujeres Y Un Hombre) are names given to a painting likely completed between 1820–1823 by the Spanish artist Francisco Goya. It is one of Goya's 14 ""Black Paintings"", a series created in despair near the end of his life on the walls of his home, Quinta del Sordo, and is oppressively dark in both mood and colour. It shows two women with maniacal smiles seemingly"
"(who may have commissioned the two paintings), suggest a completion date of about 1430. A free copy from some two generations later is in the Prado in Madrid. This is in a vertical format and measures 47 x 36 cm. A large tree is added at the left, and the foreground rocks extended higher. The landscape is somewhat different, and reflects the world landscape style of Joachim Patinir, to whom the painting has been attributed in the past. This was largely because the jagged peaks in the distance have been added to and altered to Patinir's trademark depiction of the"
"La maja vestida The Clothed Maja ( ) is a pendant painting by the Spanish painter Francisco de Goya between 1800 and 1805. It is a clothed version of the earlier ""La maja desnuda"" (1797–1800) and is exhibited next to it in the same room at the Prado Museum in Madrid. The painting was first owned by Prime Minister Manuel de Godoy, who was known as an avid womanizer, and originally hung in his home in front of the ""Naked Maja"" in such a manner that the ""Naked Maja"" could be revealed at any time with the help of a"
"In addition to works from the Spanish royal collection, other holdings increased and enriched the Museum with further masterpieces, such as the two Majas by Goya. Among the now closed museums whose collections have been added to that of the Prado were the Museo de la Trinidad in 1872, and the Museo de Arte Moderno in 1971. In addition, numerous legacies, donations and purchases have been of crucial importance for the growth of the collection. Various works entered the Prado from the Museo de la Trinidad, including ""The Fountain of Grace"" by the School of Van Eyck, the Santo Domingo"
"Adoration of the Magi (Rubens, Madrid) The Adoration of the Magi is a very large oil painting by the Flemish Baroque painter Peter Paul Rubens. He first painted it in 1609 and later gave it a major reworking between 1628 and 1629 during his second trip to Spain. It is now in the Museo del Prado in Madrid. It is one of many works on the subject by Rubens - others include those of 1616-17 and 1624. Towards the end of 1608 Antwerp was preparing to receive the peace delegates negotiating an end to the war between Spain and the"
"was purchased 1654 by Luis Méndez de Haro, who gave it to Philip IV of Spain from whom it eventually became part of the Prado's collection. There is also a version at the Shipley Art Gallery that has the same overall design as the Prado painting, but varies in many small details. There is debate among scholars over how much of these two works were actually done by Tintoretto and how much was done by his workshop assistants. There is also evidence to suggest that the Shipley Art Gallery may in fact own the original: 'It is now considered that"
"Adoration of the Magi (Bosch, Madrid) The Adoration of the Magi or The Epiphany is a triptych oil painting on wood panel by the Netherlandish artist Hieronymus Bosch, executed around 1485-1500. It is housed in the Museo del Prado of Madrid, Spain. The work was once identified with a canvas executed for the Cathedral of 's-Hertogenbosch, Bosch's hometown. However, it is now considered more likely that this one is the painting owned by Jehan de Kassembrood which was seized by Fernando Álvarez de Toledo, 3rd Duke of Alba in 1567. The paintings contains the coat of arms of the Bronchorst,"
"Goya's ""Tres de Mayo"" (""The Third of May 1808"") of a few years earlier, which was apparently not even on display in the Prado Museum until some years later. In contrast, Delacroix's ""Liberty Leading the People"" of 1830 showed fighting in a positive light, but not the ""military"" as it shows armed civilian revolutionaries of the July Revolution, advancing against the unseen uniformed forces of the government. Turkish atrocities were to remain a recurrent theme in 19th-century painting, especially in former Ottoman territories escaped from the declining empire (often pre-rape scenes treated rather salaciously), and general anti-military sentiments, previously mostly"
"of the painting's highlights. Velasquez and his assistants created three paintings to be sent to potential husbands for the Infanta (who eventually married Louis XIV). Two other versions are on display in the Museum of Fine Arts, Boston and the Louvre. Portrait of the Infanta Maria Theresa of Spain The infanta Maria Theresa of Spain or The infanta Maria Theresa aged 14 is a 1653 portrait by Diego Velázquez of Maria Theresa of Spain. It has been cut down at the top and bottom and is now in the Kunsthistorisches Museum in Vienna. It is considered one of the artist's"
"hung alongside, above, or before its companion. They were twice in the collection of the Royal Academy of Fine Arts of San Fernando, also in Madrid, being ""sequestered"" by the Inquisition between 1814 and 1836 before being returned. They have been in the Prado since 1901. It is not known if the two works were intended to be hung together. One early account gives the ""Clothed Maja"" placed in front of the current work; the pull of a cord revealed the nude version. Today they are hung side by side, although others have suggested that they were intended to be"
"crowd of people and herds of cattle fleeing in all directions occupies the lower third of the painting. The painting became the property of Goya's son, Javier Goya, in 1812. The painting was later owned by Pedro Fernández Durán, who bequeathed his collection to Madrid's Museo del Prado, where it has been kept since 1931. The painting became part of the Museo del Prado's collection in 1931, when it was donated by the estate of Pedro Fernández Durán. The first documented attribution of the painting to Goya dates from 1946 when Francisco Javier Sánchez Cantón published the inventory of the"
"in Madrid, used as a general store for the religious wealth collected. The painting was photographed in 1859 by Jean Laurent. Its first formal attribution was in 1870 when it was transferred to the Prado, dating it as 1454 on the strength of the entry: however, it was stylistically anachronistic, an accurate dating should have read ""before 1454"", a mistake which has caused no end of confusion in the 130 years following as scholars attempted to identify a non-existent atelier or pupil/follower of van Eyck's. Following a dendrochronological study undertaken by the Prado in the late 1990s, which dated the"
"de Madrazo, was also known as a painter, chiefly by his ""Burial of Saint Cecilia"" (1855). Federico's best-known pupils were his sons, Raimundo and Ricardo. Federico de Madrazo y Kuntz Federico de Madrazo y Kuntz (9 February 181510 June 1894) was a Spanish painter. Born in Rome, he was the son José de Madrazo y Agudo (1781–1859), the painter and former Director of the Prado Museum. His father-in-law was Tadeusz Kuntze, a Polish painter. His brothers were Luis de Madrazo y Kuntz (1838 –1894), a painter, Pedro de Madrazo y Kuntz (1816–1898), an art critic and Juan de Madrazo y"
"Dos de Mayo Uprising of 1808. The museum was set up again, but in 1827 it was divided into two sections: the Museo de Artillería and the Museo de Ingenieros. Later the collections were unified and housed in the Hall of Realms. In the twenty-first century the collections were moved from Madrid to Toledo. The new premises offered much more space, although the site was not without controversy because of its associations with the Siege of the Alcázar, an episode in the Spanish Civil War. The new museum was opened in 2010 by Felipe, Prince of Asturias. The Alcázar is"
"Paris in 1988; the third was recorded in Hawkins Collection of London in 1951, a fourth version, the Galerie de Jonckheere in Paris in 2002 and the fifth at the Galerie Robert Finck in Brussels on 1955 (which was auctioned at Sotheby's on 9 July 2014 lot 57, as Hieronymus Francken II). The Sciences and the Arts (Prado) The Sciences and the Arts is a 17th-century painting which is part of the collection of the Museo de Prado in Madrid. It has traditionally been attributed to Adriaen van Stalbemt, but more recently some art historians have re-attributed the work to"
"The Disasters of War The Disasters of War (Spanish: Los desastres de la guerra) is a series of 82 prints created between 1810 and 1820 by the Spanish painter and printmaker Francisco Goya (1746–1828). Although Goya did not make known his intention when creating the plates, art historians view them as a visual protest against the violence of the 1808 Dos de Mayo Uprising, the subsequent Peninsular War of 1808–14 and the setbacks to the liberal cause following the restoration of the Bourbon monarchy in 1814. During the conflicts between Napoleon's French Empire and Spain, Goya retained his position as"
"1929. It is largely similar to the Rothschild version, but the two right hand figures are in somewhat different positions. A copy attributed to Leonardo Alenza was formerly in the collections of Serafin García de la Huerta, then of Marquis José de Salamanca, and then , and is now in the Pezzoli collection in Paris. Majas on a Balcony Majas on a Balcony (Spanish: ""Las majas en el balcón"") is an oil painting by Francisco Goya, completed between 1808 and 1814, while Spain was engaged in the state of conflict after the invasion of Napoleon's French forces. The painting in"
"an error that was repeated when the painting was inventoried at the new Madrid Royal Palace in 1772. A 1794 inventory reverted to a version of the earlier title, ""The Family of Philip IV"", which was repeated in the records of 1814. The painting entered the collection of the Museo del Prado on its foundation in 1819. In 1843, the Prado catalogue listed the work for the first time as ""Las Meninas"". In recent years, the picture has suffered a loss of texture and hue. Due to exposure to pollution and crowds of visitors, the once-vivid contrasts between blue and"
"and in the fields of La Moncloa hundreds of patriots were shot due to Murat's order against ""Spanish all carrying arms"". Paintings such as ""The Third of May 1808"" by Goya reflect the repression that ended the popular uprising on 2 May. The Peninsular War against Napoleon, despite the last absolutist claims during the reign of Ferdinand VII, gave birth to a new country with a liberal and bourgeois character, open to influences coming from the rest of Europe. Madrid, the capital of Spain, experienced like no other city the changes caused by this opening and filled with theatres, cafés"
"of Madrid, the pretender to the Spanish throne. Beginning in about 1850, the second floor of the palae was rented by the antiquarian and art dealer Jacobo Querci della Rovere, who used it as a gallery to sell paintings by Rubens, Rembrandt, Caravaggio, Canaletto, and other old masters. In the 1880s, it became the home of the painter Robert Barrett Browning, whose father Robert Browning, the poet, died in his apartment on the mezzanine floor in 1889. At this time, the American portrait painter John Singer Sargent also had a studio in the palazzo. In 1906 Browning received an offer"
"Majas on a Balcony Majas on a Balcony (Spanish: ""Las majas en el balcón"") is an oil painting by Francisco Goya, completed between 1808 and 1814, while Spain was engaged in the state of conflict after the invasion of Napoleon's French forces. The painting in the collection of Edmond de Rothschild in Switzerland is thought to be the original. Another version at the Metropolitan Museum of Art in New York City is thought to be a copy. A further copy, attributed to Leonardo Alenza, is in the Pezzoli collection in Paris. Goya considered his ""maja"" works, such as this painting"
"by his youth in Northern Spain, many of which are now at the Museum of Fine Arts of Asturias. He died in Madrid. Luis Álvarez Catalá Luis Álvarez Catalá (1836 – 4 October 1901) was a Spanish painter of historical scenes and Director of the Museo del Prado from 1898 to 1901. He is believed to have been born in Madrid, to an Asturian family from Cangas de Narcea, where he spent the summer seasons during his childhood. After finishing his primary education in Oviedo, he returned to Madrid, where he enrolled in the ""Escuela Especial de Pintura, Escultura y"
"National Historical Museum. Cabildo abierto del 22 de mayo de 1810 Cabildo abierto del 22 de mayo de 1810 (""Open Cabildo of May 22, 1810"") is a portrait made by the Chilean artist Pedro Subercaseaux. It shows the artist's interpretation of the Open Cabildo that took place in Buenos Aires on May 22, 1810, in the Buenos Aires Cabildo, and which was a turning point of the May Revolution. The portrait was painted in Chile in 1908, as requested by Ángel Justiniano Carranza, for the centennial of the May Revolution that would take place in 1810. Subercaseaux mailed the following"
"lived in Granada. His wife died during childbirth in 1874, the same year as his brother-in-law, Fortuny. In 1894, he donated a collection of works by Francisco de Goya that he had acquired in 1869 to the Museo del Prado. In 1914, he moved to Versailles, where he died six years later. His son, Federico de Madrazo y Ochoa (known as ""Coco"") also became a notable painter. Raimundo de Madrazo y Garreta Raimundo de Madrazo y Garreta (24 July 1841 – 15 September 1920) was a Spanish painter from the Madrazo family of artists who worked in the Realistic style;"