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A Masterpiece Commemorating Spanish Resistance

The Third of May, 1808 (also known as El tres de mayo de 1808 en Madrid or Los fusilamientos de la montaña del Príncipe Pío) is a powerful painting by the renowned Spanish artist Francisco De Goya. Completed in 1814, this masterpiece commem...

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A Masterpiece Commemorating Spanish Resistance

The Third of May 1808, also known as El tres de mayo de 1808 en Madrid or Los fusilamientos de la montaña del Príncipe Pío, is a powerful painting by the renowned Spanish artist Francisco Goya. Completed in 1814, this masterpiece now reside...

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Size and Media

Date and Location

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The Second of May 1808, also known as The Charge of the Mamelukes, is a painting by the Spanish master Francisco de Goya. It is a companion to the painting The Third of May 1808. The painting depicts a scene during the May 2nd Uprising in Madrid, at the Calle de Alcalá near Puerta del Sol. Painted i...

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Portrait of Feliciana Bayeu y Merklein (1774–1808), the only daughter of Francisco Bayeu and Sebastiana Merklein, at the age of 15. This work/

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This painting is a copy after the portrait by Anthony van Dyck now in the Baltimore Museum of Art,6 which was first recorded in an inventory of the possessions of Amalia van Solms-Braunfels (1602-1675), the sitter’s widow, of 1673, and was probably painted in Antwerp following Van Dyck’s visit to Th...

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Vintage contact print, developed from a glass negative and adhered to a secondary support surface, where we see a group of men and women wearing the regional costumes of the Sayago region of Zamora posing before a building, possibly the Palace of the Trinity in Madrid. On the occasion of Alfonso XII...

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The event depicted is recounted in Genesis 33:1-10. Jacob and his brother are reconciled following Jacob’s theft of his brother’s birthright by tricking their father Isaac. Beside Jacob are probably his wives Rachel and Leah with their children, behind are the cattle intended by Jacob as a gift for ...

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The broken, flickering outlines that keep the surface and flesh alive in this portrait exemplify Velázquez’s technical brilliance and remarkable control within a tight chromatic range. It probably served as the study for an identical face that looks out from his Surrender of Breda (ca. 1635, Museo d...

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This painting exhibits many of the characteristics of Adriaen Brouwer’s style when working in Antwerp. It has been generally accepted as by him26 and praised as such by Klinge,27 discussed at length by Broos,28 and included in the Oudenaarde exhibition of 2018. However, the partial cleaning, concent...

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