559:
434:
20:
751:
175:
519:
415:
901:
834:
368:
111:
940:, then just north of Madrid, was a large hunting lodge started by Charles V and greatly expanded by Philip IV. As such the extreme formality of the main royal palaces was relaxed there. The relatively informal Velázquez royal portraits in hunting clothes, and mock-heroic portraits of court dwarves and jesters, were painted for it, and also a huge series of 60 mythological subjects by Rubens and his workshop, from which 40 of the paintings and over 50 of Rubens'
572:
482:
624:
533:
391:(reigned 1556 to 1598) was devoted to his father's memory, and probably more interested in art than his father; certainly he commissioned and bought much more, and by the end of his life the collection included some 1,500 paintings, and about 700 tapestries. He took over Charles's key artists, Titian and the Leonis, and commissioned
90:
were little patronised. Foreign artists were often imported, although even in the 16th century the most successful were often reluctant to go to Spain, partly because they feared they would never be allowed to leave. In addition, at various periods, especially in the 16th and 17th centuries, the
662:, from a generation earlier. He spent his last years in Madrid, from 1761 to 1770, painting three ceilings in the Royal Palace, and a set of paintings for a church, which were quickly replaced by works by Mengs after court intrigues, apparently reflecting the king's taste. One,
210:, but a tapestry of Lazarus at 150,000. Some pieces were bought by the family, but her husband Ferdinand was mainly interested in the tapestries, paying 524,072 for two sets of four each, and buying the Lazarus piece at a lower price. Isabella's son-in-law
126:
to avoid the need for imports of these luxury items. As a young man, Goya executed a number of tapestry designs for use in the royal palaces. Royal patronage was also used to develop other arts and crafts in Spain in the 18th century, for example the
821:, a surviving 17th-century wing of the Buen Retiro Palace, is being redeveloped as part of the campus of the museum. Originally, the Hall housed large paintings from the royal collection. Some of these, such as equestrian portraits of the family of
551:'s reign (1661-1700) saw Spain's decline become evident. Royal patronage of official portraits continued, but there was relatively little other than that, and the receipt of diplomatic gifts from other monarchs. Court painters included
873:. Built in order to display material from the royal collections which is in the care of Patrimonio Nacional, the new museum is intended to be complementary to the other two buildings, so that they are arguably comparable to the
825:, are now in the Prado. While in theory these paintings could be restored to their original location, this would disrupt the layout of key galleries of the Prado, and other uses are currently envisaged for the Hall of Realms.
1204:
452:, who reigned from 1598 to 1621, continued the output of royal portraits, but otherwise was not greatly interested in art. Arguably, his reign was in any case an unremarkable period in Spanish painting. He commissioned an
425:
In 1561 Philip established Madrid as the capital of Spain, something his father had planned but never implemented. He also began to construct a massive monument to his father and the other
Spanish Habsburgs at
142:, and diplomatic gifts. The collections have passed to public ownership, and a large number are on display at various locations. Although the collection is rightly most famous for its paintings, with the
529:
Velázquez was twice given permission to visit Italy, in 1629-30 and 1649-51. On the second visit he was used as a agent of the king to buy art, which he did on a large scale, with excellent judgement.
921:, then just outside Madrid, was destroyed in a fire. Many paintings were rescued, but the group of important royal portraits by Titian and others in the "Hall of Kings" were mounted on the walls by
509:
in 1622, and remained in royal service for the rest of his life, also progressing through the hierarchy of courtiers. Philip enjoyed his company, and often came to see him paint. The very informal
306:
Charles V was also a keen and discriminating collector, and his relentless travelling made him aware of the diversity of
Renaissance art, above all that of Italy. He was greatly impressed by
200:(d. 1504) were dispersed in an auction after her death, with the paintings fetching very low prices compared to the many tapestries or her jewels and even clothes. For example, a painting by
352:, assisted by his son Pompeo, occupied from 1546 an equivalent position in sculpture; there are full and half-length bronze portrait sculptures of Charles in the Prado, as well as medals and
558:
742:
Though the collection continued to gain paintings from royal commissions after the
Restoration, and to acquire older works, the great days of royal patronage culminated with Goya.
717:
and in 1790 he was promoted to First Court
Painter. Ill-health, changing artistic inspiration and finally the French invasion of 1808 made his work for the court tail off, but his
433:
19:
475:
1255:
651:, the avant-garde movement of the day to leave Rome to visit Spain, which successful artists were traditionally reluctant to do. As well as a large ceiling in the
750:
291:
and the earlier
Habsburgs mostly remained in Austria and Germany when in 1556 Charles V abdicated and divided his enormous realms between his brother, who became
238:
698:
691:
43:(1700–1868, with a brief interruption). They included a number of kings with a serious interest in the arts, who were patrons of a series of major artists:
1339:
779:, which became home to a huge art collection. The monarchy continued to use other palaces. A new palace was begun in 1563 when the corner-stone was laid of
600:, was a young French prince, whose reign lasted, with a brief interruption, from 1700 to 1746. French portrait painters were now used heavily, including
155:
682:
had been a pupil of Mengs in the 1760s, but they had not got on. After a trip to Italy he got on much better with Bayeu, and in 1773 married his sister
608:, who replaced Ranc as the main court portraitist from 1736, and native Spanish painters like Miguel Jacinto Meléndez needed to adjust their style.
585:
128:
1328:
255:(d. 1530), also governor of the Netherlands and a keen collector, though mostly of contemporary Netherlandish paintings. Her collection included the
997:
761:. An imagined recreation of a scene of c. 1670, showing paintings now mostly in the Prado, presumably based on early catalogues. There are many by
814:
of the 1870s was of short duration and Spain returned to being a monarchy, the collection has remained a national rather than a royal collection.
174:
280:
were probably valued more for their tapestries than their paintings. Charles V spent more on tapestries than paintings (like his contemporary
687:
252:
360:
was mostly used to record
Charles's military victories, especially in designs for large tapestries, and Charles took him on his campaign to
241:, shortly after her retirement as governor of the Netherlands. She was a keen collector whose heir was Philip II. Her legacy included the
961:
were rescued, in that case by cutting it from its frame and dropping it out of a window. Some paintings had already been installed in the
798:, Spain's national art museum. This institution was opened to the public as an art gallery in 1819 in an initiative associated with Queen
723:(1800-01) is one of the most admired portraits in the Prado. Other works not commissioned by the king reached the Prado later, including
1521:
663:
284:), and commissioned them throughout his life, continuing the family tradition, and reflecting common royal preferences at the time.
719:
242:
326:, intended as a demonstration piece. This fully won Charles over, and from then on he never posed for any other portrait painter, as
1526:
1516:
1457:
1000:
by
Fernando VII, and are kept at Apsley House, the London home of the Dukes of Wellington, where they are mainly on public display.
506:
414:
1363:
332:
319:
288:
179:
643:
when young (it was a French custom for princes to learn a manual trade) and continued to etch in later life. He twice persuaded
196:
Few
Spanish paintings are recorded in the collection that were owned before the Habsburg reigns. The c. 300 paintings owned by
518:
307:
292:
1497:
1475:
1439:
1424:
1171:
1067:
884:
Patrimonio
Nacional has a tradition of organising temporary exhibitions, for example in 2019 it mounted an exhibition about
968:
The
Spanish Habsburgs ruled Portugal from 1581 to 1640 (under Philips II to IV), and Philip II in particular gave the main
639:
was considerably more capable and dynamic than his predecessors for a century before. He had also trained in painting and
593:
576:
44:
1388:
900:
234:
1027:
295:, and his son Philip, who received Spain, the Netherlands and the Habsburg possessions in Italy. They are now in the
671:
251:(Prado), by then over a century old. She also had two dozen Titians. Charles V was also the heir of his great-aunt
952:
905:
776:
552:
945:
866:
659:
400:
392:
918:
799:
367:
296:
266:
24:
992:
in London. These were being taken from Spain by the French when they were captured by the British army at the
833:
754:
930:
870:
163:
1351:
95:
and France. In early periods the scattered Spanish possessions included the important artistic centres of
1055:
977:
878:
874:
862:
850:
811:
675:
652:
357:
123:
1062:, by Antonio DomĂnguez Ortiz, Concha Herrero Carretero, JosĂ©-A. Godoy, 1991, Metropolitan Museum of Art,
697:
In the 1780s Goya began to paint portraits of the court, including the king. He began with a portrait of
1297:
989:
885:
702:
612:
248:
223:
197:
110:
944:
survive (Prado). The palace was mostly destroyed by fire when taken in 1714 by Austrian troops in the
701:, Charles's chief minister, in 1783 (Prado), and then painted many of the family of Charles's brother
807:
636:
605:
948:, remaining only as ruins. But much of the portable art had already been removed to other palaces.
146:
in Madrid holding the main collection, there are large holdings of sculpture, and most forms of the
1490:
Resplendence of the Spanish Monarchy: Renaissance Tapestries and Armor from the Patrimonio Nacional
1060:
Resplendence of the Spanish Monarchy: Renaissance Tapestries and Armor from the Patrimonio Nacional
926:
889:
846:
842:
714:
644:
548:
449:
211:
92:
68:
222:
that have mostly remained in the royal collection (now Royal Palace). Juan was court painter for
962:
937:
822:
498:
388:
257:
56:
48:
1220:
910:
502:
229:
The collection includes those parts taken to Spain in the 16th century of the collection of the
60:
976:
much art, including a large ceiling by Titian. This and most of its other art was lost in the
226:
from 1496, but all of his paintings in the Prado collection were acquired in the 20th century,
1493:
1471:
1463:
1453:
1435:
1420:
1305:
1175:
1167:
1063:
993:
597:
453:
323:
139:
1443:
322:(Prado). This was a repetition of a recent portrait (Vienna) by his brother's court painter
134:
The enormous collections have been significantly reduced by a series of fires, losses in the
1242:
1238:
337:
230:
201:
119:
83:
40:
91:
monarchs bought paintings abroad on a significant scale, especially in Italy, but also the
1343:
1276:
795:
736:
731:
725:
674:
was an assistant to and protege of Mengs from 1763, who was given a job designing for the
596:
from 1701 to 1715 disrupted royal patronage, especially in the early years. The new king,
219:
147:
135:
36:
877:. The chronological framework of the new museum is from the Middle Ages to the reign of
1367:
955:, was completely destroyed by fire in 1734, with great losses. Some paintings, such as
794:
Many of the finest paintings from the former Spanish royal collection are housed in the
973:
892:
in the First World War. It expects to change regularly the exhibits in the new museum.
818:
679:
628:
571:
408:
345:
64:
1510:
648:
505:(1599-1660) was brought to the king's attention when still young, after the death of
404:
277:
104:
1298:"A king with a mission: the humanitarian deeds of Alfonso XIII during the Great War"
858:
683:
481:
430:, whose building and decoration was to be the major artistic project of his reign.
399:, which represent some of his finest late works. Of these six or seven paintings,
353:
262:
159:
933:
set to producing new versions of the paintings from the sources available to him.
806:), the Prado was nationalised in 1868 as a consequence of the deposition of Queen
762:
623:
1501:
1071:
1044:
501:(1621-1665) saw great personal involvement by the monarch in artistic patronage.
957:
783:, a combined monastery and palace in the mountains to the north of the capital.
780:
767:
532:
511:
457:
427:
349:
75:
941:
281:
151:
1468:
Princes and Artists, Patronage and Ideology at Four Habsburg Courts 1517–1633
1309:
627:
Charles III painted in hunting attire, with few signs of his royal position.
601:
581:
515:
show the artist painting the king and queen, with their daughter watching.
471:
407:
remained in the collection until transfer to the Prado; five are now in the
336:(Prado) set the standard for the genre, influencing later artists such as
1028:"Spain's former king Juan Carlos was never supposed to leave the country"
786:
In 1734 the Alcázar was destroyed by fire along with many works of art.
206:
87:
79:
150:. What is probably the world's finest collection of Renaissance Flemish
854:
640:
315:
988:
Some 80 paintings from the former Spanish royal collection are in the
1488:
Ortiz, Antonio DomĂnguez; Carretero, Concha Herrero; Godoy, JosĂ©-A.,
969:
922:
775:
In June 1561 Philip II set his court in Madrid, installing it in the
694:
in the collection, as well as most of the tapestries made from them.
584:
44 cm Ă— 65 cm (17 in Ă— 26 in). Compare
466:
461:
375:
341:
327:
311:
300:
270:
265:, which left the collection in the Napoleonic Wars and is now in the
184:
100:
52:
237:
were further reinforced in 1558 on the death of Charles V's sister,
655:, several portraits of the royal family remain in the collection.
899:
832:
749:
622:
570:
557:
531:
517:
480:
432:
413:
366:
361:
173:
143:
109:
96:
78:
throughout this period, although some important artists including
18:
330:
says, despite the difficulties in meeting Titian to pose. His
419:
The Adoration of the Name of Jesus or The Dream of Philip II
1430:
Cremades, Fernando Checa; Fernández–González, Laura (eds),
562:
The Allegory of the Golden Fleece, c. 1694 by Luca Giordano
35:
of art was almost entirely built up by the monarchs of the
869:, opened in 2023 on a site near the Palacio Real and the
1206:
The chamber of Philip IV in the Buen Retiro Royal Palace
759:
The chamber of Philip IV in the Buen Retiro Royal Palace
996:. They were subsequently gifted to the British general
611:
Van Loo remained in place in the reign of Philip's son
287:
The largely German collections of Charles' grandfather
1432:
Festival Culture in the World of the Spanish Habsburgs
1256:"The Prado presents the newly re-hung Velázquez rooms"
118:
With the loss of the Low Countries as a result of the
615:(r. 1746-1759), until he returned to Paris in 1753.
74:
The royal family were the most important patrons of
1419:, 1996, Ministerio de EducaciĂłn y Cultura, Madrid,
497:In great contrast to his father, the long reign of
308:
a Titian portrait of the Duke of Mantua and his dog
853:contains numerous artworks including frescoes by
817:To mark the 200th anniversary of the Prado, the
705:. In 1786 he was made a salaried court painter.
39:who ruled Spain from 1516 to 1700, and then the
917:In 1604 much of the secondary royal palace of
166:is only rivalled by its equivalent in Vienna.
27:in front of the Prado, whose building she led.
925:frames, and could not be taken out in time.
8:
1237:Sánchez, Alfonso E. Pérez (January 1, 2003).
951:The first main home of the collection, the
929:ordered the room to be reconstituted, with
678:the same year, becoming director in 1777.
1417:Museo del Prado, Catálogo de las pinturas
1342:, by Alejandro Vergara, Prado. See also
849:in Spain and the art works in them. The
686:. When he became director Bayeu employed
1348:The Decoration of the Torre de la Parada
998:Arthur Wellesley, 1st Duke of Wellington
1009:
699:José Moñino, 1st Count of Floridablanca
635:Reigning over Spain from 1759 to 1788,
464:came as an ambassador, and painted his
395:of mythological paintings known as the
218:a set of small religious paintings by
965:on the other side of the city centre.
875:triangle of art of the Paseo del Prado
129:Real Fábrica de Cristales de La Granja
1470:, Thames & Hudson, London, 1976,
980:which largely destroyed the palace.
460:, who did not visit Spain in person.
7:
1492:, 1991, Metropolitan Museum of Art,
692:50 of his painted cartoons remaining
393:the famous and now dispersed series
310:(c. 1529, Prado), and arranged for
164:Armoury in the Royal Palace, Madrid
67:had a similar role at the court of
1452:, 2012, Museo Nacional del Prado,
720:Charles IV of Spain and His Family
713:Goya's position was confirmed by
647:(d. 1779), the leading painter of
16:Art collection of Spanish monarchs
14:
1364:"Aerial photo from El Pardo site"
320:full-length and also with a hound
216:Polyptych of Isabella of Castille
1340:"Rubens y la Torre de la Parada"
1296:Olaya, Vicente G. (2018-11-09).
1026:Vanderhoof, Erin (August 2020).
411:, and one in the United States.
348:. But the Milan-based sculptor
333:Equestrian Portrait of Charles V
289:Maximilian I, Holy Roman Emperor
276:All of these additions from the
233:, whose heir was Charles V. The
214:(Charles V's father) bought the
180:Equestrian Portrait of Charles V
131:produced luxury glass products.
802:. Having been a royal museum (
293:Ferdinand I, Holy Roman Emperor
1329:Prado, "The Emperor Charles V"
1166:, 3rd edn, 2004, p. 323, OUP,
865:. A new museum in Madrid, the
124:tapestry manufacture in Madrid
122:, the Spanish crown developed
1:
1389:"The story of the collection"
594:War of the Spanish Succession
235:Early Netherlandish paintings
1164:The Oxford Dictionary of Art
837:The Royal Collections Museum
658:Mengs was a bitter rival of
586:this huge version by van Loo
478:, but not the royal family.
1058:, "Introduction", p. 8, in
668:reached the Prado in 1827.
154:is mostly displayed at the
138:and to a lesser extent the
1543:
1522:Former private collections
1127:Trevor-Roper, 25–26, 31–32
1045:Prado; collection overview
906:The Waterseller of Seville
592:After Charles' death, the
114:El Escorial, Royal Palace.
946:War of Spanish Succession
890:humanitarian intervention
867:Royal Collections Gallery
861:instruments known as the
688:Goya to design tapestries
665:The Immaculate Conception
660:Giovanni Battista Tiepolo
567:Philip V and Ferdinand VI
23:A posthumous portrait of
1527:Spanish royal collection
1517:Art collections in Spain
845:looks after a number of
755:Vincente PolerĂł y Toledo
672:Francisco Bayeu y SubĂas
297:Kunsthistorisches Museum
158:, and the collection of
33:Spanish royal collection
25:Maria Isabel of Portugal
1350:, Phaidon Press, 1971,
1245:(subscription required)
1100:Trevor-Roper, 41, 73–74
931:Juan Pantoja de la Cruz
553:Juan Carreño de Miranda
507:Rodrigo de Villandrando
231:Valois Dukes of Bugundy
1056:Philippe de Montebello
978:1755 Lisbon earthquake
914:
863:Stradivarius Palatinos
838:
812:First Spanish Republic
804:Museo real de pinturas
772:
735:(1800s), and the late
676:Royal Tapestry Factory
653:Royal Palace of Madrid
632:
589:
577:The Family of Philip V
563:
540:
526:
489:
441:
422:
379:
358:Jan Cornelisz Vermeyen
188:
115:
63:as court painter, and
28:
1393:Wellington Collection
1277:"Patrimonio Nacional"
990:Wellington Collection
984:Wellington Collection
903:
836:
753:
703:Infante Luis of Spain
626:
574:
561:
535:
523:Adoration of the Magi
521:
484:
440:by Cellini, 1559-1562
436:
417:
370:
249:Rogier van der Weyden
224:Isabella I of Castile
198:Isabella I of Castile
177:
113:
22:
1219:Marks (April 2019).
857:and a unique set of
841:The heritage agency
606:Louis-Michel van Loo
470:(chief minister and
372:The Trinity in Glory
356:. The Dutch painter
244:Deposition of Christ
1434:, 2016, Routledge,
1136:Trevor-Roper, 28–30
1118:Trevor-Roper, 12–15
843:Patrimonio Nacional
645:Anton Raphael Mengs
549:Charles II of Spain
450:Philip III of Spain
253:Margaret of Austria
212:Philip the Handsome
156:Palace of La Granja
93:Spanish Netherlands
1464:Trevor-Roper, Hugh
1239:"Velázquez, Diego"
1221:"The Prado at 200"
963:Buen Retiro Palace
938:Torre de la Parada
915:
839:
773:
633:
590:
564:
541:
527:
499:Philip IV of Spain
490:
442:
423:
389:Philip II of Spain
380:
303:, and elsewhere.
258:Arnolfini Portrait
204:was valued at 170
189:
116:
29:
1500:, 9780870996214,
1442:, 9781317135616,
1174:, 9780198604761,
1091:Catalogo, 113–114
1070:, 9780870996214,
994:Battle of Vitoria
953:Alcázar of Madrid
476:the Duke of Lerma
454:equestrian statue
324:Jakob Seisenegger
314:to paint him, in
140:Spanish Civil War
1534:
1403:
1402:
1400:
1399:
1385:
1379:
1378:
1376:
1375:
1366:. Archived from
1360:
1354:
1337:
1331:
1326:
1320:
1319:
1317:
1316:
1293:
1287:
1286:
1284:
1283:
1273:
1267:
1266:
1264:
1263:
1252:
1246:
1243:Grove Art Online
1235:
1229:
1228:
1216:
1210:
1202:
1196:
1195:Trevor-Roper, 52
1193:
1187:
1184:
1178:
1161:
1155:
1154:Trevor-Roper, 49
1152:
1146:
1145:Trevor-Roper, 28
1143:
1137:
1134:
1128:
1125:
1119:
1116:
1110:
1107:
1101:
1098:
1092:
1089:
1083:
1080:
1074:
1053:
1047:
1042:
1036:
1035:
1023:
1017:
1016:Trevor-Roper, 45
1014:
401:only one at most
338:Anthony van Dyck
267:National Gallery
202:Hieronymus Bosch
120:Peace of Utrecht
84:Jusepe de Ribera
51:were patrons of
1542:
1541:
1537:
1536:
1535:
1533:
1532:
1531:
1507:
1506:
1485:
1483:Further reading
1450:The Prado Guide
1412:
1407:
1406:
1397:
1395:
1387:
1386:
1382:
1373:
1371:
1362:
1361:
1357:
1344:Svetlana Alpers
1338:
1334:
1327:
1323:
1314:
1312:
1295:
1294:
1290:
1281:
1279:
1275:
1274:
1270:
1261:
1259:
1254:
1253:
1249:
1236:
1232:
1218:
1217:
1213:
1203:
1199:
1194:
1190:
1185:
1181:
1162:
1158:
1153:
1149:
1144:
1140:
1135:
1131:
1126:
1122:
1117:
1113:
1109:Chemades, 42–44
1108:
1104:
1099:
1095:
1090:
1086:
1082:Chemades, 41–42
1081:
1077:
1054:
1050:
1043:
1039:
1025:
1024:
1020:
1015:
1011:
1006:
986:
911:Diego Velázquez
898:
831:
810:. Although the
796:Museo del Prado
792:
748:
737:Black Paintings
732:La maja vestida
726:La maja desnuda
711:
621:
569:
546:
503:Diego Velázquez
495:
447:
385:
239:Mary of Hungary
220:Juan de Flandes
194:
172:
148:decorative arts
136:Napoleonic Wars
37:Habsburg family
17:
12:
11:
5:
1540:
1538:
1530:
1529:
1524:
1519:
1509:
1508:
1505:
1504:
1484:
1481:
1480:
1479:
1461:
1447:
1428:
1411:
1408:
1405:
1404:
1380:
1355:
1332:
1321:
1288:
1268:
1247:
1230:
1211:
1197:
1188:
1179:
1156:
1147:
1138:
1129:
1120:
1111:
1102:
1093:
1084:
1075:
1048:
1037:
1018:
1008:
1007:
1005:
1002:
985:
982:
974:Ribeira Palace
972:residence the
897:
894:
830:
827:
819:Hall of Realms
791:
788:
747:
744:
710:
707:
680:Francisco Goya
629:Francisco Goya
620:
617:
568:
565:
545:
542:
494:
491:
456:of himself by
446:
443:
409:United Kingdom
405:prime versions
387:Charles's son
384:
381:
193:
190:
171:
168:
15:
13:
10:
9:
6:
4:
3:
2:
1539:
1528:
1525:
1523:
1520:
1518:
1515:
1514:
1512:
1503:
1499:
1495:
1491:
1487:
1486:
1482:
1477:
1473:
1469:
1465:
1462:
1459:
1458:9788484801665
1455:
1451:
1448:
1445:
1441:
1437:
1433:
1429:
1426:
1422:
1418:
1414:
1413:
1409:
1394:
1390:
1384:
1381:
1370:on 2016-10-24
1369:
1365:
1359:
1356:
1353:
1349:
1345:
1341:
1336:
1333:
1330:
1325:
1322:
1311:
1307:
1303:
1299:
1292:
1289:
1278:
1272:
1269:
1257:
1251:
1248:
1244:
1240:
1234:
1231:
1226:
1222:
1215:
1212:
1208:
1207:
1201:
1198:
1192:
1189:
1183:
1180:
1177:
1173:
1169:
1165:
1160:
1157:
1151:
1148:
1142:
1139:
1133:
1130:
1124:
1121:
1115:
1112:
1106:
1103:
1097:
1094:
1088:
1085:
1079:
1076:
1073:
1069:
1065:
1061:
1057:
1052:
1049:
1046:
1041:
1038:
1033:
1029:
1022:
1019:
1013:
1010:
1003:
1001:
999:
995:
991:
983:
981:
979:
975:
971:
966:
964:
960:
959:
954:
949:
947:
943:
939:
934:
932:
928:
924:
920:
912:
908:
907:
902:
895:
893:
891:
887:
882:
880:
879:Juan Carlos I
876:
872:
871:Royal Armoury
868:
864:
860:
856:
852:
848:
844:
835:
828:
826:
824:
820:
815:
813:
809:
805:
801:
797:
789:
787:
784:
782:
778:
770:
769:
764:
760:
756:
752:
745:
743:
740:
738:
734:
733:
728:
727:
722:
721:
716:
708:
706:
704:
700:
695:
693:
690:, with about
689:
685:
681:
677:
673:
669:
667:
666:
661:
656:
654:
650:
649:Neoclassicism
646:
642:
638:
630:
625:
618:
616:
614:
609:
607:
603:
599:
595:
588:, both Prado.
587:
583:
579:
578:
573:
566:
560:
556:
554:
550:
543:
538:
534:
530:
524:
520:
516:
514:
513:
508:
504:
500:
492:
487:
483:
479:
477:
473:
469:
468:
463:
459:
455:
451:
444:
439:
435:
431:
429:
420:
416:
412:
410:
406:
402:
398:
394:
390:
382:
377:
373:
369:
365:
363:
359:
355:
354:engraved gems
351:
347:
343:
339:
335:
334:
329:
325:
321:
317:
313:
309:
304:
302:
298:
294:
290:
285:
283:
279:
278:Low Countries
274:
272:
268:
264:
260:
259:
254:
250:
246:
245:
240:
236:
232:
227:
225:
221:
217:
213:
209:
208:
203:
199:
191:
186:
182:
181:
176:
169:
167:
165:
161:
157:
153:
149:
145:
141:
137:
132:
130:
125:
121:
112:
108:
106:
105:Low Countries
102:
98:
94:
89:
85:
81:
77:
72:
70:
66:
62:
58:
54:
50:
46:
42:
38:
34:
26:
21:
1502:google books
1489:
1467:
1449:
1444:google books
1431:
1416:
1415:"Catalogo":
1396:. Retrieved
1392:
1383:
1372:. Retrieved
1368:the original
1358:
1347:
1335:
1324:
1313:. Retrieved
1301:
1291:
1280:. Retrieved
1271:
1260:. Retrieved
1250:
1233:
1224:
1214:
1205:
1200:
1191:
1186:Chemades, 44
1182:
1176:google books
1163:
1159:
1150:
1141:
1132:
1123:
1114:
1105:
1096:
1087:
1078:
1072:fully online
1059:
1051:
1040:
1031:
1021:
1012:
987:
967:
956:
950:
942:oil sketches
935:
916:
904:
886:Alfonso XIII
883:
859:Stradivarius
851:Palacio Real
840:
816:
803:
800:Maria Isabel
793:
785:
774:
766:
765:, including
758:
741:
730:
729:(1790s) and
724:
718:
712:
696:
670:
664:
657:
634:
613:Ferdinand VI
610:
591:
575:
547:
536:
528:
522:
510:
496:
488:by Velazquez
485:
465:
448:
437:
424:
418:
396:
386:
371:
331:
305:
286:
275:
263:Jan van Eyck
256:
243:
228:
215:
205:
195:
178:
160:plate armour
133:
117:
73:
32:
30:
1032:Vanity Fair
958:Las Meninas
913:, 1618–1622
847:royal sites
829:Royal sites
781:El Escorial
768:Las Meninas
637:Charles III
619:Charles III
580:, 1723, by
512:Las Meninas
458:Giambologna
428:El Escorial
421:by El Greco
350:Leone Leoni
76:Spanish art
1511:Categories
1498:0870996215
1476:0500232326
1440:131713561X
1425:8487317537
1410:References
1398:2020-08-19
1374:2020-10-09
1315:2020-08-15
1282:2020-08-15
1262:2020-08-25
1172:0198604769
1068:0870996215
927:Philip III
715:Charles IV
709:Charles IV
544:Charles II
539:by Raphael
486:Philip III
445:Philip III
282:Henry VIII
152:tapestries
103:, and the
69:Charles IV
59:appointed
1310:1134-6582
823:Philip IV
808:Isabel II
790:The Prado
763:Velázquez
746:Locations
631:, 1786-88
602:Jean Ranc
582:Jean Ranc
537:The Pearl
525:by Rubens
493:Philip IV
472:favourite
383:Philip II
318:in 1532,
207:maravedis
192:Charles V
61:Velázquez
57:Philip IV
49:Philip II
45:Charles V
919:El Pardo
757:, 1881,
598:Philip V
438:Crucifix
88:Zurbaran
80:El Greco
41:Bourbons
1352:summary
1302:El PaĂs
1209:, Prado
855:Tiepolo
777:Alcázar
641:etching
403:of the
316:Bologna
170:History
162:in the
1496:
1474:
1456:
1438:
1423:
1308:
1258:. 2010
1225:Apollo
1170:
1066:
970:Lisbon
923:stucco
896:Losses
684:Josefa
467:valido
462:Rubens
397:poesie
378:, 1548
376:Titian
344:, and
342:Rubens
328:Vasari
312:Titian
301:Vienna
271:London
187:, 1548
185:Titian
101:Naples
86:, and
53:Titian
1004:Notes
739:.
362:Tunis
144:Prado
97:Milan
1494:ISBN
1472:ISBN
1454:ISBN
1436:ISBN
1421:ISBN
1306:ISSN
1168:ISBN
1064:ISBN
936:The
604:and
346:Goya
65:Goya
47:and
31:The
888:'s
374:by
261:by
247:by
183:by
107:.
71:.
1513::
1466:;
1391:.
1346:,
1304:.
1300:.
1241:.
1223:.
1030:.
909:,
881:.
555:.
474:)
364:.
340:,
299:,
273:.
269:,
99:,
82:,
55:,
1478:.
1460:.
1446:.
1427:.
1401:.
1377:.
1318:.
1285:.
1265:.
1227:.
1034:.
771:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
