Noticias

Hans Holbein, the Younger: ‘Portrait of Henry VIII of England’

Portraiture was the most popular genre in sixteenth-century England, and indeed one of the few available to artists following the schism between the Church of Rome and the Church of England, of which Henry VIII became head. This likeness of the famous Tudor king is a magnificent example of Holbein’s remarkable style, characterised by a monumental rendering of figures which are nonetheless endowed with considerable psychological depth.

Peter Paul Rubens: ‘Venus and Cupid’

Rubens was the most outstanding of all Flemish painters, and a leading exponent of Baroque art. The Toilet of Venus is one of his copies of an original by Titian—now lost—which belonged to the Spanish royal collections. This provenance is supported by two significant details: the pearl bracelet and the ring on Venus’ left little finger, both of which appeared in Titian’s painting. An original version close to the one by Titian is now at the National Gallery of Washington, and there is another canvas by Rubens in the Liechtenstein Collection in Vaduz.

Vittore Carpaccio. Young Knight in a Landscape

Young Knight in a Landscape is one of the earliest examples of a full-length portrait in European painting. The canvas, signed and dated by Carpaccio on a cartellino to the right of the figure, was attributed to Dürer until 1919. A number of hypotheses have been advanced regarding the identity of the figure. The motto Malo mori quam foedari (better to die than be defiled) placed beside a short-tailed weasel suggests that he may be a knight of the Order of the Ermine.

Edgar Degas. Swaying Dancer (Dancer in Green)

Degas was fascinated by the world of ballet; hence, it figured prominently in many of his paintings. Here, the group of dancers is depicted in mid-performance, as viewed from an upper side box. Only one of the girls in green is shown full-length, captured as she executes a swift, complicated turn. The other figures are cropped, leaving the viewer to imagine the rest. In the background, a number of ballerinas dressed in orange stand against the landscape scenery, awaiting their turn.

Claude Monet. Charing Cross Bridge

On a late winter afternoon, London’s frenzied activity seems to have drawn to a halt. Only a few barges move slowly under Charing Cross Bridge, with the hazy silhouette of the Houses of Parliament barely visible in the background. This painting is one of a series of views of the Thames produced by Monet between 1899 and 1901 from the Savoy Hotel, overlooking the gardens of the Victoria Embankment. Though varying in subject-matter, these paintings share a common aim: to capture the light filtering through the winter fog.

Paul Cézanne. Portrait of a Peasant

This canvas is one of a set of plein-air paintings produced by Cézanne in Aix-en-Provence towards the end of his life. In it, Cézanne’s gardener, Vallier, poses against the balustrade on the terrace of the artist’s new studio, close to Les Lauves. Though dressed in the plain blue work-clothes of the Provençal peasant, the sitter conveys a sense of strength and solidity, and occupies most of the picture. The vertical thrust of the figure is offset by the strong horizontal plane of the ochre-coloured parapet.

Edward Hopper. Hotel Room

The loneliness of the modern city is a central theme in Hopper’s work. In this painting, a woman sits on the edge of a bed in an anonymous hotel room. It is night and she is tired. She has taken off her hat, dress and shoes, and—too exhausted to unpack—she is checking the time of her train the next day. The space is confined by the wall in the foreground and the chest of drawers on the right; while the long diagonal line of the bed directs our gaze to the background, where an open window turns the viewer into a voyeur on what is happening in the room.

Descubre el Museo Thyssen-Bornemisza de Madrid

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